• Archives of design research
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• v.14 no.3
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• pp.197-210
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• 2001

There are symbolicity and special meaning in the materials which are supposed to be used metalcraft from ancient to present. These are basical resources of hermeneutics and play a role as moaning elements. Generally, the precious Cold and Silver are mainly to be used with precious stone. But recently, ordinary materials like glass iron aluminum has begun to be used with them. Several artists are intentionally using them, and special skills which could be revealed by only the matherials are developing by them. In these skill, there are original material's texture and character of matter are looking like other matter. Well, special skills are adapted in these matters to magnify the possibility of expression, the originally codified meaning resources are disturbed. For example, The metal craft artist June Schwarcz is using the skills of electroforming, copper foiling, enameling, wire brush patina, fine wires fusing, etc. He is doing abstract forming and making various textures. And his works are very big size, and done by the skills of painting and sculpture. The outer form is very structural, special touches of the artists are heterogeneously mixed with the symbolic abstract expressionism color field. Further, there are mixed with Primitive original life atmosphere, Medieval ornamental aspect, Minimal, and Chaotic aspects. The meaning particles of these aspects are directly/indirectly joined but special skills and basic material languages are mixed together, the originally codified material language are disturbed. These disturbed material languages are becoming optically special effect and be illusion. It is making expressing way of tile metalcraft more fertile and be infinite.

• Journal of Fashion Business
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• v.7 no.1
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• pp.135-151
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• 2003

This study was carried out in order to become that it helped a base of education to train creation of movie costume. The object is the movie costume of the movie, The Age of Innocence that got the Academy award in movie costume. This study analyzed the costume and color symbolism of the film based on the novel, The Age of Innocence written by Edith Wharton who is a realism writer, and a master of manners and customs novel, is the first Pulitzer Prizewinner as a woman. And this study created the movie costume and hair-style of two heroines, May and Ellen who lead the huge irony that is principal stream of a novel. May stands for 'irony of innocence' and Ellen does for 'absolute innocence'. And each image represents on a display of the front and back of 'innocence' symbolically. The costume design of them was planned along the character which was analyzed and interpreted irony of a drama in a viewpoint of Wharton through this study and expressed with illustration. And using 57cm Porcelain doll, produced a hair-style and costume.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.4
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• pp.75-83
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• 2010

College campus landscape plans once focused mainly on campus functionality and aesthetically pleasing buildings. Yet now, after the rise of greater emphasis on afforestation and eco-friendly planning, building spaces for the local culture and community has become the core of the plan. This study analyzed the design strategies and details of the landscape plan that was selected through the contest to select a design plan for the cultural park at Sunchon National University. The key considerations for the landscape Design for the cultural space at Sunchon National University areas follows. First, the design plan sought ways to reach out to the local community, going one step beyond just opening up campus facilities. This means more than just the opening of physical facilities and environments. It was designed to serve as a base to organize diversified programs by generations and groups with an aim to share the history and culture of the college, the local community and the region. Second, shapes and colors were designed to establish a unified image between buildings and outdoor facilities. "Three Books" was selected as the key motif as books were believed to be the most representative symbol of colleges while 6 straight lines, hexagons and circles inspired by the shape of three books were used in the design. In terms of colors, reddish-brown was used for buildings to enhance visibility along with harmony and esthetic appreciation. For facilities, black and blue were used as dominant colors and white and yellow as point colors to promote the image of Sunchon City. Third, with an aim to overcome the limitation of the overall college campus as a closed space, it was designed to be a barrier-free space, remaining open to everyone and encouraging visits and experiences for active communication with the local community.

• KOREAN JOURNAL OF PACKAGING SCIENCE & TECHNOLOGY
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• v.19 no.2
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• pp.103-108
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• 2013

Packaging of solar salts produced in Korea and Japan were evaluated and compared each other in terms of packaging design such as package types, colors and graphics. The standing pouch type in plastic film was most popular for the Korean salts regardless of the package capacity. But the same type was common only for the lower package capacity of 300 g or less while the plastic film pouch was prevalent for the higher capacity for the Japanese salts. White and brown were dominant colors for the Korean solar salts reminding us of salt farms and the foreshore respectively and strengthening its color identity. White, blue and red were used for the dominant, assort and accent colors respectively for the Japanese salt packaging. Salt farmers and the foreshore are often represented as the main package graphics for the Korean solar salts while the wave symbolising the sea was found frequently for the Japanese ones. The word of 'Shinan' was involved the most in the brand names of the Korean salts and the sea was appeared very often in those of the Japanese ones.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1883-1896
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• 2009

This paper explores the use of Korean wrapping cloths (bojagi) in the late Joseon period and the types of decorations applied to them. Korean wrapping cloths called bojagi are pieces of cloths used by households of all social classes for practical purposes such as wrapping presents and covering food. In addition to the basic purposes, the making of bojagi was also an activity to express the down-to-earth wishes and the satisfaction of creation by the designer. With regard to the decorative feature of Korean wrapping cloths, five types of, patchwork, embroidered, painted, printed, and oiled-paper wrapping cloths, were examined. The patchwork wrapping cloths (jogakbo) show the frugality of Joseon women in addition to the well-developed composition skill of lines and colors. The embroidered wrapping cloths were prepared for special rituals and ceremonies such as weddings. Painted wrapping cloths were decorated with a Chinese-colors technique (called dangchae) or sometimes with black ink painting. For printed wrapping cloths, various sizes of woodblock printings and roller printings were used. Although monotone black ink was the main color applied to the printing, there was also wrapping cloths made from chintz having brilliant fast colors. Oiled-paper wrapping cloths called sikjibo were in use only for covering food. Cut-out work was employed to decorate it.

• The Journal of the Convergence on Culture Technology
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• v.8 no.2
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• pp.243-249
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• 2022

Fairy tales are rooted in folk tales and contain human unconsciousness and universal emotions. It also plays a role as original content in various narrative transformation works. Andersen's brings numerous signification through symbolic signs of red shoes, dance, and ankle amputation. Victor W.Turner's theory of social drama broadens the perspective of narrative analysis. In addition, this theory makes us realize the conditions of the social community required by society at the time. As a circular content, Andersen's shows the double entry narrative of growth as a woman and incorporation into the social community. In this process, the social conditions accepted and rejected are symbolically revealed. In Koo Byung-mo's novel , achromatic color and red color are contrasted. The red world is full of vitality and represents the meaning of human existence. Yoon Mi-kyung's fairy tale is divided into different characters from the girl's growth narrative and the outsider's entry into the women's society. This work accuses preconceived notions and prejudices against multicultural families and strangers.

• Journal of the Korean Society of Floral Art and Design
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• no.42
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• pp.3-21
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• 2020

In this paper, the funeral was defined as a culture of death and, on the most important ideological basis, the biological death was not recognized as the end of the world, but as a starting point for another life. Various funeral cultures were investigated and the funeral floral design was analyzed through the case. Based on this, it was concluded that Korea's funeral floral design was an impediment to the development of funeral floral design, similar to the use of limited materials. Storytelling, a communicative concept through the exchange of emotions and opinions, rather than unilaterally conveying a message as an answer, is one of the most effective marketing strategies in the emotional consumption era. Based on this, the target person was selected to analyze life and draw suggestions from his life. Accordingly, the production of the work was attempted by applying storytelling to the funeral floral design. The painting design applied to storytelling expressed the symbol and meaning of the painting design material, and the color and form of the floral design in various forms and colors of pastel line, which are based on peach color that symbolizes the deceased, in a departure from the traditional funeral painting design with the solemn atmosphere of the geometric design centered on the white chrysanthemum material.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.985-996
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• 2007

The purpose of this study is to analyze the symbolism of traditional Korean patterns which reflect an emotional cultural background of Korean people, to apply modernized and developed patterns to Textile Design for fashion cultural products, and to explore productive direction of developing designs of fashion cultural products. The process of developing Textile Design of fashion cultural products which applied symbolism of traditional Korean patterns was conducted as follows. Firstly, based on '05 S/S-'07 S/S fashion trends, a design concept wat decided(man-urban ethnic style, woman-romantic ethnic style). Secondly, motive was abstracted from selected traditional patterns to develop into modem patterns. Thirdly, items were selected according to symbolic meaning of traditional Korean patterns. Man's items included shirts, necktie, and handkerchief which were highly preferred by Korean and foreign visitors. Finally, developed textile designs were diagrammed by item using textile CAD and an illustrator 10 and presented as images. The following results were obtained. First, textile designs for fashion cultural products, in which apply traditional patterns may reflect the understanding of traditional aesthetic beauty and philosophical approach by applying symbolic significance inherent in patterns as well as the aesthetics of the patterns. Second, traditional patterns have been recognized as old fashioned to consumers because they have been often used for traditional handicrafts or folk products. If their unique shapes are changed or simplified, emphasizing images, and trend styles and colors are used, they will be recreated as a modem design. Third, textile designs using traditional patterns may provide various images and visual effects according to techniques and production methods. Then, the method will be applied to many items. Finally, since traditional patterns in fashion cultural products can be used as our unique design elements, they can be utilized as the source of design inspiration for the development of value-added products.

• Archives of design research
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• v.13 no.4
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• pp.213-223
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• 2000

Computer automation, developed into a major element of modern industry, has also brought to great change in textile design field. Traditional textile designers have been created patterns by free hand drawing with brush. The modern textile designers create and present, on the other hand, printed or woven designs much more utilizing extensively the computer cad as design tool, creating various designs and colors as well as reducing the creative process. Vine pattern the worldwide known is not a pattern simplified from a specific plant but it is rather a plant imaginative pattern that has been developed from a winter plant found in ancient Egypt. Vine patterns express gorgeous curve lines, which are simple but decorative by connecting flowers or leaves with stems. These vine patterns have also been widely used for their decorative arts in Korea since early times because they were believe to a favorable auspice pattern symbolizing a long-life and fertility. In this study, the possibility of developing various designs is explored and presented by utilizing the motif of vine pattern in CAD program.

• Archives of design research
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• v.15 no.4
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• pp.111-120
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• 2002

Folk paintings influence the lifestyle of the general public, and is visible practical communication presenting emotion, feelings and phenomenon through various functions and aesthetic molding specificity. Illustration as a medium for conveying information in modern society is time communication forming time circumstance based on a creative image, becoming an importance in the means of molding an active information society. Folk paintings and illustration express the subject of various kinds of stories of surroundings of daily lives ironically, humorously and symbolically, convey it in an accurate and detailed way in the various use of color and shape representation, and have a similar specificity as the general public's art influencing the society, culture, and environment, the general public's emotion and feelings of that time. The current research is to suggest the possibility and direction of Korean image representation in illustration by analyzing folk painting and illustration characters based on social, cultural function and role and molding specificity.