• Archives of design research
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• v.11 no.3
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• pp.25-33
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• 1998

A Study on the Plasticity of the Gather Represented in Haute Couture The Gather is the plastic technique to represent a sense of voluminosity by pleating the plane of costume and manifests the emotional effects , such as both functional aspects and the construction of form, optical illusion effect, textural feelings from materials, tactile transformations, etc. So it is used as the tool to represent the plastistic beauty of costume. The plasticity of the ancient gather was the drape arising according to the curve of the body, but the type of gather recently found on the haute couture does not only retain the activity and functionalism on which the technical element and the ornamental aspect are mixed with other techiques.

• Cartoon and Animation Studies
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• s.14
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• pp.65-82
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• 2008

The animation is expressed by fusing the character's aesthetic feature and action in the entire structure and such creation of the character is needed to approach with understanding its socio-cultural background and dramatic structure. This study has started for the reason that there is a need of making an animation character based on reality, as well as to develop a individual character and narrative skill at the same time. In this study, analyzing through the DSM-IV (Diagnostic and Statistical Manual of Mental Disorders) by the American Psychiatric Association, APA), I have been able to come to a conclusion in which the character's personality is presented more exaggeratingly than its ordinary tendency. So it is used as a means to occur a dramatic motive-induction and probability. Futhermore, applying the same condition of the personality disorders to the animation character has changed the narrative development and it showed a result that even the character is not having the problem of personality disorders, it shows the nature of personality disorders-like is being appeared exaggeratingly or increasingly.

• Journal of the Korea Convergence Society
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• v.7 no.5
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• pp.255-261
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• 2016

This study is to understand psychedelic art works and identify their characteristics in order to present a convergent nail art design and find new directions for design ideas. For these purposes, the concepts of psychedelic art and nail art, and expressive techniques were analysed based on results of Internet surfing, previous studies and technical books. For nail art design works with the characteristics of psychedelic art as motivation, hand painting, marble and nail patch techniques were merged to create a total of four design pieces. This study merged psychedelic art with modern sense to reorganize it into a unique design. It is hoped that the designs will be helpful in the development of future nail art designs. Also it is expected that it can become a new cultural trend which can express diverse design works with infinite possibilities in nail art and artistic creativity.

• The Journal of the Korea Contents Association
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• v.10 no.5
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• pp.165-172
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• 2010

The development of photography technology has changed the domain of fashion illustration that once prospered while the improvement of computer technology can now reedit the limits of photos. Presently, the border between photography and illustration has been collapsed through a medium of computer. And this phenomenon tends to be encouraged by expressive features that traditional fashion illustration was characterized by. Thereupon, this study aims to investigate the expressive features of drawing lines in clothing on the 20th century fashion illustration based on such periodic demand. Therefore, this paper deals with the followings: the first is to understand the concept of the drawing line in clothing ; the second is to consider the features of drawing lines in clothing on the Eastern and Western paintings; the third is to figure out the flow of the 20th century fashion illustration; the fourth is to analytically study the features of drawing lines in clothing shown on the 20th fashion illustration.

• Journal of the Korean Institute of Intelligent Systems
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• v.24 no.3
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• pp.233-238
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• 2014

Creativity is crucial in designing and producing attractive accessaries and daily supplies as well as art works. Generative design can be a paradigm to be used to obtain novel ideas or motifs for creative design works. This paper introduces a generative design method which comes up with unique ring models using genetic algorithm. It presents how the genetic algorithm works in terms of candidate solution coding, operators, and fitness evaluation function. The proposed method allows the customers to express their personal preference and later the preference to be reflected in fitness evaluation. In the final stage of the proposed method, several ring models are suggested for customers to choose on their own. The chosen ring models can be put into physical rings with the help of a 3D printer because the models are expressed in 3D geometric structures.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.23-29
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• 2020

Since the movements of a machine are driven by a certain principle, there is a fundamental principle that governs the movement of the machine, no matter how complex and diverse it may be. Autonomous movements are a way to avoid repetition, to approach more humane and more natural factors. That's all the more so when it comes to original movements, not cloning. So now, the dynamics of the machine are more multi-sensory by human participation. It is challenging the potential to be expressed and is gradually expanding its sphere of expression in the boundaries of fact and cloning. Theo Jansen's works have changed from period to period to adapt to different circumstances, indicating that his decades-long work has continued to evolve from early to present. The evolution's focus, among other things, can be seen as having the same source of circular motion and horizontal reciprocating motion, which are repeated from the principle of organic coupling between the parts that make up the object.

• Cartoon and Animation Studies
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• s.37
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• pp.361-392
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• 2014

Regarding works that express objects realistically in painting, Gustave Courbet advocated realism in the mid-19th century, France, resisting the then academist style of painting, and works in realist style were produced in earnest by painters such as H. Daumier or Jean F. Millet, who went along with him. Later, realism has expanded into the realm of general literature, including fine art, which has had profound impacts on works of art and literary works. In comics, too, in the same historical context as a form of painting, realistic comics began to be produced by painters or cartoonists at the time. These realism comics are those dealing with stories based on facts, and in terms of contents, objective description and representation of the social realities of the times is one of the most important objectives, but it could not be concluded that in their visual aspect, that is, that of expressing the objects, they were realistic. In the meantime, a graphic novel was born, which was the intermediate form between comics and novels around the United States and Europe since the 1980s. Graphic novels appeared in forms and styles with strong literary and artistic values in the comics market in the U.S. which was full of the superhero genre (comics around heroes), and their major characteristics are very realistic expressions in terms of contents and visual aspect. They are complex and delicate and even have artistic, literary values as if readers read a fiction or literary work of which its narrative structures or pictures are produced with graphics. The characteristics of realistic expressions shown in graphic novels are very different from the previous works of comics. It is noteworthy that they began to be acknowledged as works of art like painting or illustration, thanks to their features of strongly individual auteurist painting style, a fairly high degree of completion of the works, and creative and experimental expression techniques or methods, instead of following the fashion of the times. In recent years, in South Korea, Hollywood blockbuster films have been released one after another and become box office hits, there are increasing interest and demand for the original graphic novels. Accordingly, many original graphic novels have been translated and started to be sold, and keeping pace with this global flow of fashion, some writers in Korea began to produce works of graphic novels. However, to look into the domestic works produced claiming to be graphic novels, there are various opinions on their format and authenticity. In this sense, this study focused on Ga-ya Kwon's Namhansanseong, one the representative works of Korean style graphic novels, and in particular, it attempted to analyze their characteristics and commonalities focusing on the visual aspect of realistic expressions of objects. It is expected that there would be an opportunity to seek for ways so that Korean style graphic novel can be further developed as a genre of comics, with competitiveness by looking back on the identity and present state of domestic graphic novels and developing and applying Korea's original subject matters differentiated from those of graphic novels in the U.S., Europe or Japan through this study. In addition, it is desired that they will be a new energizer for the stagnant domestic comics market.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.492-501
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• 2013

This study is aimed to track down on changes in the way Korean culture was covered in Japanese textbooks over the past three decades since the 1980s by reviewing 'social studies' textbooks for the 6th graders in elementary school and 'geology' textbooks for middle school, which are two compulsory subjects in Japanese schools where Korean cultures is the most often mentioned. To that end, Korean culture contents mentioned in the textbooks were classified into basic element, unique element and element that reflect the times, each of which was then divided into the categories of traditional & modern and surface & in-depth so as to see how each of the categories was presented. Japanese textbooks mentioned mostly surface and basic elements of Korean culture relating to food, clothing and shelter, such as Hanbok, Kimchi, Ondol, high-rise apartment and table manners, and also landscape of Seoul. Also, the kinds of contents which constantly appeared in the textbook were mostly basic elements including to food, clothing and shelter. Elements that reflect the times such as the 1988 Seoul Olympic Games, the 2002 Korea-Japan World Cup and the Korean Wave were adequately covered as part of chronological explanations in the books. The aspect of Korean culture in Japanese textbooks seems to expand in depth and scope over the years. More recently, detailed explanations and visual images were increasingly used to introduce Korean culture.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• Journal of Digital Convergence
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• v.12 no.1
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• pp.563-572
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• 2014

Art Nouveau started from the purpose of making art young by reforming art. Rising in revolt against historical style imitation, Art Nouveau was a movement that demanded modern and trend-fitting styles which were embracing general revolution of life and surrounding environment. In jewelry, new styles were tried to be constructed too, breaking from previous styles. Together with new trial of materials, fine jewelry that technical skills of master craftsmen were emphasized on were shown. Styles of Art Nouveau had been diversely developed, fitting to culture of each country in the whole Europe. They were the bases of styles after the 20th century. Jewelry after Art Nouveau repeated development by being divided into industrial and artistic jewelry. They have influenced on a lot of development until modern times. Art Nouveau led jewelry to the establishment of artistic worth, exceeding the worth of goods. There is a difference between aesthetic jewelry expressed through diverse formativeness of Art Nouveau and modern jewelry designs centered on simple precious jewelry which is biased toward productivity and functionality. Modern times are the times of culture and art that are laying stress on personality and ego-expression and pursue creative and ingenious designs. So, various color expression of Art Nouveau and jewelry styles of diverse materials and motives which were expressed through time period and thought will become examples in leading new design development and design flows of modern jewelry.