• Journal of Digital Convergence
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• v.20 no.4
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• pp.607-615
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• 2022

Animation is a popular art in the form of enlightenment that intimately approaches people of various ages and makes them reconsider the social problems they have ignored. Therefore, this paper analyzes how the character setting and formative symbolism in "The Willoughbys" raise awareness of social agendas. The previous studies found that the modern society needs to be aware of child abuse and various types of family, and examined that color and formativeness of animation induce psychological and behavior change from the audience. The work shows emotional abuse and neglect as characters, and presents the subdivided form of the family. The rainbow symbolizes diverse family members. The agents with visual characteristics express the modern principle-based secondary perpetrator along with apathetic neighbors to urge a change in audience perception. This paper insists the value of animation when it is essential to raise public awareness prior to the construction of a welfare society and support system.

• 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.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1837-1847
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• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.5
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• pp.675-683
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• 2002

The purposes of the study were to analyze the changes in formal attires and decorative features of middle age Korean women during the last half of 20th century and to find out any significant differences in formal attires according to periods. The study was a documentary research, and data were collected from 344 family wedding photographs by convenient sampling. The statistics used were content analysis, frequency and a time series analysis, and the results were as follows : 1. Four schematic clusters of formal attires were categorized according to skirt(chima) length and width, jacket(jogori) length, motifs and decorative features; simple classic, decorative classic, fashionable, and extravagant fashionable. Simple classic attires were popular until 1960s, the decorative classics were appeared from late 1960s to 1970s, fashionable attires were introduced from the late 1970s and the attires became more luxurious and extravagant until 2000. 2. Color symbolism in couples mothers'attires according to the couples gender - pink or red for the bride's mother and blue or green for groom's mother - was introduced from the late 1970s, and reached the maximum level by the early 1980s but slowly disappeared after the late 1980s. 3. The complete fashion cycle did not exist in the formal attires'change, however, since the Period of data were ranged from 1943 to 2000, the 57 years period may not long enough to measure a complete fashion cycle.

• Archives of design research
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• v.16 no.3
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• pp.231-240
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• 2003

As all other cultures do, in the background of color of costume, view of life or spirit are contained in the nature or environment that the people lived in are applied. Marring is the ceremony to be socially recognized that both of sexes are unified, assist ancestor and bear future generation. Meaning and symbolism of color are appeared in beauty and organic composition of Lee dynasty. This paper tried to dear up five colors are dean, beautiful and philosophical colors rather than awkward composition of colors through surveying character of five colors appeared in Korean traditional wedding dress that has been succeeded in present age. This paper compared Korean traditional wedding dress and "Dan-chung" of Korea, Japan and China and surveyed theoretical background of Korean traditional color to find character of color appeared in Korean traditional wedding dress. As a result, Korean traditional color is meaningful symbolic color, its origin starts in yin-yang and the live elements of the Oriental cosmogony and it is related with Taoism of Confucianism and color of "Dan-chung." Five colors of yin-yang means everything under the sun and il is the color achieving beauty of balance due to correlation when it is linked to over one color. Further, it contains nature worship and human dignity, prays happiness and gives the significance of "Buksa", meaning of expelling an evil spirit. Formative beauty praying that all creatures are harmonized while human is happy and escapes from uncertainty is the beauty pursuing mental satisfaction as well as visual satisfaction. In future, the creational and characteristic designs that can appeal to world are required through right understanding and study of the beauty of traditional culture beauty of traditional culture

• Archives of design research
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• v.15 no.4
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• pp.77-86
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• 2002

3D computer applications provide various functions such as modeling, rendering, animation, lighting and so on. Lighting is the core element in that light visualizes shape and develops characteristics of surface. In spatial design, light is the most important factor in deciding color, texture and illumination level which are the basic factors of spatial design. The purpose of this study is to define the characteristics of lighting in digital space provided by the computer, based on the fact that physical space cannot be separated from digital space, and to show how light in the physical realm relates to computer graphics technologies. This study shows there are following characteristics of light in digital space; iconic light, modifiable surface, shadowless light, 2-dimensional perception, and the particulate aspect of light but not the wave aspect of light. Light in physical or digital space is capable of producing a visual sensation. The experimental space can be realized due to the lack of physics. Further study in new illumination procedures are required as computer media expands.

• Journal of the Korean Society of Costume
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• v.35
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• pp.195-210
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• 1997

Movie clothing is what is recreated as a character in work after being worn for actors (or actresses). And it is not added for heightening only fantasy but it acts for heightening only fantasy but it acts for reinforcing the side of character or subject. Especially the clothing in color movie gets to have very psychological effect. Thus Accord-ing to the clothing the effect of the represen-tation style may become large and small. So as to make the gesture or attitude of each character valuable in accordance with the ac-tion and expression of the figure clothing is different from other device essentially One may attain various goals through the color of movie clothing, First movie clothing may show the vogue color of the time and the representative time color, Second the color of movie clothing helps one to able to recognize the socio-econmic position of character easily as the color to symbolize the specific jobs such as nurse soldier and doctor etc. Third the color of movie clothing may show the charcter temperament as to whether one is young or old and whether one has pessi-mistic temperament or one is extrovert or introversive etc. easily. Fourth setting the clothing color of hero as the color to set off helps it easy to distinguish from representation staffs. Fifty the whole color establishment of movie clothing gives help to expressing the at-mosphere of movie. Color is one of the most powerful means that the person in charge of clothing may express the character of movie. He should ex-press the feature of a wearer with the colors of each clothing through showing the lack of taste of characters or hinting the resistant character with the clothing color which is not suitable for situation or the conservative character with suppressed color etc. Thus he (or she) should express the clothing color which is suitable for being able to express each character by analyzing the work whole through script and grasping the character of each character so as to establish the clothing which is suitable for individual character.

• Cartoon and Animation Studies
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• s.40
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• pp.177-209
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• 2015

The purpose of this study is to determine the meaning and function of black and white in the comic strip, which are mounted on the book pages. The role of space in comic strip, compared to the role of time in the cinema, enable to feel the role of the time in the book. Therefore storytelling of comic strip has been placed in the inseparable relationship with space. My aim is to think about the black and white meaning in the visual media, especially the use of black and white which is highlighted in the comic strip. Black and white doesn't mean a loss of color in the comic strip but it works around 2 important notions : readability, modernity (with minimalism). In comic strip, 'black and white' is not a true colour but it is complex items which indicate symbolic significances. Moreover it is also a notion which enhance 'existence and absence' and 'visible and invisible'. That's why to analyze and to understand how the space is organized in comic strip page, i chose several examples extract from black and white comic strip.

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.193-201
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• 2010

Being an element of plastic arts and a language of plastic forms, the color white has significant potential for improving the quality of physical environment. Colors are dealt with scientifically in chromatics, and also often become an interesting topic when analyzing a society and its history and culture. Thus, an in-depth study of the symbolism of color white and, of white pigment are required because the color has not only an important chromatic value and this should be understood a great deal, but also been the important symbol of a culture in a particular period. This paper examined the significance of the color white identified in Asian and Western cultures based on scientific and psychological understanding of the color. This also analyzed a few major white pigments, then demonstrated different methods of using the pigments and various techniques of expression used by Asian and Western painters. In addition, the paper attempted to raise awareness of the color white as chromatic color over non-color by examining the contrasting viewpoints on the color, and the changes in the viewpoints over time and place.

• Cartoon and Animation Studies
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• s.17
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• pp.147-161
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• 2009

Colors in design elements are visual non-verbal symbols both sensual and emotional. It is the first priority in the selection of products for the consumers, and also represents differentiated strategies and coherent integration symbols for the brand. Colors in advertising is an important tool to represent the long-term image management for the brand as well as the product image and concept of the advertise. The theme of this paper is to develop creative advertisement analyzing colors from automobile video ads. Analysis results showed that video ads with small cars under 2000cc preferred pastel colors with high saturation and brightness to emphasize on individuality rather than authority. On the other hand video ads with big and luxury cars upper 2000cc preferred dark colors with lower saturation and brightness. Small car video ads focused on product appearance showing the practical value of the car, big luxury car video ads focused on the symbolic image feeling the difference between the representation of the ads. Colors used in advertisement represents the sensitivity of the consumers. In video ads the concept of the color should be set by identifying on who the globule targets are and on what item you show by identifying the corresponding colors sensitivity to suit your advertising strategy will increase the value of the brand and products.