• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 1999.11a
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• pp.173-178
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• 1999

본 연구의 제 2보에서는 꽃문양 스카프 디자인의 레이아웃 변인에 따른 소비자 감성을 분석하였던 제 1보의 내용을 검증하고, 이러한 결과를 토대로 하여 꽃문양 스카프 디자인을 위한 지침과 디자인 프로토타입을 제시하였다. 본 연구에서는 꽃문양 스카프 디자인에 있어 레이아웃 기법 전개에 관련된 감성 지표를 얻음으로써 사변적 또는 미학적 접근이 주류를 이루었던 기존의 스카프 디자인 연구 분야에 새로운 감성과학적 접근방법을 모색하였다.

• Science of Emotion and Sensibility
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• v.1 no.2
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• pp.23-33
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• 1998

본 연구의 제 1보에서는 꽃문양 스카프 디자인의 두 레이아웃 변인 (모티브 크기와 반복 배열 방식)의 변화에 따른 소비자 감성을 실증적으로 분석하고,이러한 분석결과를 시장현황 조사 결과와 비교함으로써 꽃문양 스카프 디자인의 레이아웃에 대한 연구를 수행하였다. 제 2보네서는 제 1보의 결과를 토대로 하여, 소비자의 감성을 만족시키는 꽃문양 스카프 디자인을 위한 지침과 디자인의 프로토타입을 제시하고자 한다. 본 연구에서는 꽃문양 스카프 디자인의 레이아웃 기법이 감성에 미치는 효과에 대하여 실증적으로 접근함으로써, 스카프 디자인에 있어 레이아웃 기법 전개에 관련된 실증적 지표를 얻을 수 있었다. 또한 사변적 또는 미학적 접근이 주류를 이루었던 기존의 스카프 디자인 연구 분야에 새로운 접근방법을 제시함으로써 최근 주목받고 있는 감성과학 이론이 섬유 제품 디자인 개발에 유용한 방편으로 적용될 수 있는가에 관한 가능성을 타진하였다.

• Journal of the Korean Society of Floral Art and Design
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• no.44
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• pp.101-121
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• 2021

The flower, a symbol of beauty representing beauty, exists as an aesthetic object throughout the history of mankind, and is one of the motifs most often used in plastic art. In this way, flower art is an art that embodies a form based on the theme of flowers. The flowers played a role in expressing human happiness and love by harmonizing beautifully with each other in shape and color. The flower pattern containing this symbolism is beautiful and excellent in decoration, and is applied not only to household goods, but also to art and fashion. The flower pattern is the most preferred pattern among patterns, and it is widely used regardless of the four seasons by changing the color according to the color and flowering time, and it is effective in stimulating the symbolism and psychological sense of humans, so it is used in design in various fields. In this study, the flower pattern, which is a symbol of beauty representing beauty and the motif of art, has been traditionally used in Korea, and is still loved in fashion and art even in modern times. We hoped to be active, and through this study, we tried to develop our own unique flower pattern and lay the groundwork for it to be commercialized.

• Science of Emotion and Sensibility
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• v.3 no.1
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• pp.53-62
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• 2000

본 연구의 목적은 (1)꽃문양 스카프 디자인의 레이아웃 변인이 소비자의 감성에 미치는 영향을 본 연구의 제 1보의 결과 및 전통적인 디자인 이론들과 비교하고, (2) 소비자 감성분석을 기반으로 하여 꽃문양 스카프 디자인을 위한 레이아웃 프로토타입을 제시하는 데에 있다. 이를 위하여 두 종류의 꽃 모티브를 세 가지 레이아웃 변인에 따라 컴퓨터 시뮬레이션하여 총 20개의 자극물을 개발하였다. 또한 44개의 형용사쌍으로 구성된 7점의 의미미분척도를 개발하여 세 가지 레이아웃 변인에 따른 소비자의 감성효과를 측정하였다. 피험자는 편의표집된 110명의 20대 여성 소비자였으며, 이들에게 자극물을 제시하고 응답척도에 감성반응을 응답하게 하였다. 총 100부의 데이터를 사용하여 주성분분석, 다변량분석, 삼원변량분석 및 다중비교검정을 실시하였다. 본 연구의 결과를 요약하면 다음과 같다.: (1) 꽃문양 스카프 디자인에 대한 소비자의 감성은 ‘호오(좋아함-싫어함)·심미감’, ‘액센트감’, ‘온화함’ 그리고 ‘리듬감’의 네 가지 하위차원으로 구성하였으며, 이는 제 1보의 결과와 일치하였다. (2) 제 1보와 2보의 결과에 따르면, 꽃 모티브의 크기가 큰 비반복배열의 디자인이 다른 디자인들보다 더 ‘온화감’있게 느껴졌다. (3) 제 1보와 2보의 결과를 종합하여, 두 세트의 꽃문양 스카프 디자인의 레이아웃 프로토타입을 제시하였다.

• Science of Emotion and Sensibility
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• v.11 no.4
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• pp.489-500
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• 2008

The purpose of this study was to determine the preference and purchasing intention on necktie pattern designs according to male consumers' fashion lift style. Written questionnaires were handed out to 300 male consumers of the 20-40 years old in Seoul and surroundings, who were accessed by a convenience sampling method. The questionnaires were to classify male consumer groups according to the fashion life style, to examine characteristics, needs and wants of each group. The stimuli of 8 kinds of necktie patterns in black & white, and the semantic differential scale were applied to evaluate the preference and purchasing intention on necktie pattern design. A total of 265 samples were analyzed by factor analysis, cluster analysis, ANOVA, crosstabs and $X^2$-test through SPSS package program. Six factors in their fashion life style were extracted as follows: those were 'fashion-oriented', 'traditional conservative', 'brand-flaunting', 'personality-oriented', 'practicality-oriented' and 'unconcerned' life style. With these life style sub-dimensions, male consumers were segmented into five groups: these groups were 'strong personal seekers', 'practical brand seekers', 'traditional personal seekers', 'active fashion seekers', 'unconcerned group'. Each of these groups of male consumers showed significant differences in the preference and purchasing Intension of necktie pattern designs according to their fashion life style.

• Proceedings of the Costume Culture Conference
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• 2003.04a
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• pp.72-73
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• 2003

본 연구는 간호사복의 색상 및 문양에 따른 이미지를 분석하고, 색상과 문양이 조합을 이루었을 때 어떤 이미지로 통합되는지를 규명하고, 피험자에 따라 이미지지각의 차이를 알아보는데 목적이 있었다. 연구방법으로는 준실험 연구방법으로 피험자간 설계를 하였으며, 피험자는 대전, 충남지역의 대학생을 대상으로 시행하여 통계에 적합한 739부를 사용하였다. 연구에 사용된 자극물은 간호사복 catalog에서 선택한 모델에게, 색상(흰색, 분홍색, 하늘색, 녹색, 베이지색)과 문양(무지, 줄, 꽃)을 조합한 총 13개의 자극물을CAD simulation으로 제작했다. (중략)

• The Research Journal of the Costume Culture
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• v.20 no.1
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• pp.49-61
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• 2012

This study focuses on looking at the influence of silhouette in the 1930s on fabric pattern design by comprehending how differently flower-pattern design were found according to clothing silhouette. The period scope of research was limited to 1930s, and the research object was set as the flower patterns seen in the designer's high-fashion and the women's daily apparel as well as the clothes for sports and leisure activities. Based on the above research scope, the researcher investigated the clothing silhouette and the textile patterns in 1930s by reviewing the literature about domestic and foreign books, research papers, domestic and foreign fashion magazines, information on the Internet. A glance at the women's clothing in the 1930s reveals that they emphasized something inactive, elegant, feminine and that great popularity was given to feminine silhouette that closely fitted the body and long and slim, as skirts became longer and longer. Like this, silhouette refused traditional methods in the technique of expressing flower patterns that were on-trend in that period, pursued the freedom of line and form, used shadowing technique by means of free pens and brushes and the effect of watercolors. It also arranged in a semitransparent way and painted contours alone, too. Flower patterns fell into two categories: amorphous abstract patterns and standardized abstract patterns. The patterns expressed themselves, divided into small-scale irregular patterns and abstract geometric patterns that filled the entire textile.

• Archives of design research
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• v.17 no.2
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• pp.311-322
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• 2004

The purpose of this study is to ascertain pattern design element in traditional palaces among those in the neighboring three nations of East Asia, notably Korea, China and Japan. The basic assumption underlying this study is that these northeastern Asian states have been developed a unique inter-cultural ties over long periods of time in history, culminating in their respective design cultures. Undoubtly the ultimate goal to be pursued, by so doing, has to be inquiry into the identical prototype of Korean pattern design element. In the West, the pattern is appreciated by an aesthetic level, but the East Asian pattern is a symbolic alphabet deeply rooted in religious and folk beliefs. The difference of the respective country comes from the expression style of the pattern the Chinese express the magnificent pattern with various color, the Korean do the moderate pattern with harmonious color with the nature and the Japanese do the stylized pattern with the material color. To sum up similarities and dissimilarities among the design element in traditional palaces of Korea, China, and Japan is as the following : It is to be noticed that the mainly common characteristics of the artistic design are 'naturalism', 'harmonious ideas 'and 'confucianism'. But the representation style of the design element is differed from the country.

• Journal of the Korean Society of Costume
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• v.66 no.2
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• pp.15-31
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• 2016

Flower images are used as a design motif in various fields. Flower printings in clothes, in particular, usually represent nature. This study sets out to identify the characteristics of different fashion styles with flower printings, as well as the preferences and emotional images of Korean women in their 20s. The flower printings used in fashion design were classified into 5 types of styles: Modern, Natural Romantic, Maximalism, Neo-Hippie, and Ethnic style. Literature review and survey were conducted to identify the emotional images associated with the flower printings, as well as women's preferences. Through literature review, this study noted the formative elements of flower printings and their characteristics, as expressed in fashion designs. Then, the different styles were classified in order to provide theoretical foundation for the survey. The results of the study were significant in that they contributed to the definition and academic systemization of the characteristics of fashion styles with flower printings. Moreover, the study opened up possibilities for utilizing flowers to express a greater variety of meanings and influences in fashion. The findings can be used to enable fashion styles and emotional influences to be expressed through designs using natural motifs besides flowers.

• The Journal of the Convergence on Culture Technology
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• v.4 no.1
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• pp.231-236
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• 2018

Flowers are one of the most natural expressions of human expression. Recently, these flowers have been applied to various kinds of products to enhance their aesthetic value and to use them as artistic materials expressing their vitality. The purpose of this study is to investigate the formative characteristics of flowers that are visually beautiful and to express them visually through the fusion of various products used in daily life. Based on this research, we study the importance of emotional design that gives satisfaction to consumers and new design expression techniques. In addition, we pursue the aesthetic value of the product with naturalness and original design sense, and develop sensibility product design expressing design sensitivity by combining floral motif with various products based on expression of decoration using image of flower. I would like to suggest the possibility of development of sensible product design.