• Journal of the Korea Convergence Society
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• 제8권11호
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• pp.263-269
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• 2017

Credit card holders are showing a higher level of psychology to show their identity beyond the means of payment. The purpose of this study is to investigate which design factors affect the 30th and 40th generation housewives when issuing credit cards. A total of 200 people in the 30s and 40s housewives who live in Seoul and the metropolitan area were selected from among the customers who use the credit card, and the effect of the design factors of the domestic credit card on the selection of the credit card, Based on previous studies, questionnaires were prepared and surveyed. As a result of the survey, it was found that the color design of the credit card design element was the achromatic system and the main image was the simple design which only used the color without emphasizing the image or the logo, and then the character type was preferred. I prefer not to have a card decoration, and I have found that a metal-like card material is the most preferred. Through this, I would like to suggest directions for the design development for 30 and 40 housewives in credit card companies.

• Archives of design research
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• 제17권4호
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• pp.211-222
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• 2004

During the 1980s, Textile design achieved a remarkable growth in creating aesthetic effect and in establishing its standing by responding to demands of the time effectively and seeking changes proactively. This was a period when Textile design constructed its modern concept as it was attempting a qualitative improvement through advanced technology, high class, and differentiation. The advent of advanced materials through the development of textile engineering, employment of craft techniques to further cultural and artistic orientation, and restoration of decorativeness in pursuit of sensitivity, all these developments of the 1980s contributed to the rise of above characteristics. In this study, attempts are made to grasp the new trend of Textile design during the 1980s and to review diverse methods of aesthetic creation and plastic possibility which this trend presented for the Textile, and thus to recognize the role of Textile design and its importance in a new light. The new trend of Textile design during the 1980s can be summarized as follows: 1) An appreciation of the creative aspect of the Textile. As attempts are made to emphasize visual and sensitive aspects of the medium, Textile tended to become an object of art itself. 2) A new awareness of the representative and plastic capacity of the fiber material. As attempts are made to develope the creative potential of the Textile, representation of the material tended to become more diversified. 3) A recognition of the Textile as a proper means to deliver the spirit of the time. As the medium accommodates and fuses diverse cultures including traditional culture, more emphasis was place on cultural contents of the Textile. In the process of pursuing these changes, Textile design of the 1980s has also contributed to the creation of new values, laying the groundwork for its emergence as an advanced high value-added industry.

• The Research Journal of the Costume Culture
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• 제14권5호
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• pp.755-765
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• 2006

This study is on the esthetic characteristics in the haute couture work of Chanel. It first reviews the lives and the fashion philosophy of Chanel, a senior designer and Lagerfeld as representatives of the maison, from the haute couture collection since 2000. The results of the study are the following. First, reinterpreting the tradition, Chanel reproduced historical dress items or silhouette with modern sense, or she created a new modern Chanel image through her original restructuring and dismantling. Second, Chanel expressed balanced beauty of compounded eclecticism by accord between simplicity and ornamentation, which meant her design showed impartial beauty with simple silhouette, decoration with colors, accessories, and ornaments. Third, Chanel did not divide the value between men and women, and instead expressed androgyny through dismantling each gender's characteristics by borrowing or mixing. As a result, she emphasized the female image or created a new style through expressing symbolic image embracing masculinity.

• Proceedings of the Korean Institute of Surface Engineering Conference
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• 한국표면공학회 2016년도 추계학술대회 논문집
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• pp.167.2-167.2
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• 2016

금(Au) 및 금의 합금도금은 주로 극히 얇고 색상만 나타내는 정도의 장식용으로 많이 사용되고 있으나 단순한 장식품뿐만 아니고 스마트폰, 정보통신 서버, 전자기기, 자동차, 전지용에도 널리 사용되고 있다. 특히 로켓공업이나 인공위성의 와곽부, 엔진에는 필수적이다. 현재 미국의 금도금액 85%는 전자부품과 인공위성(NASA) 등의 공업용에 사용되고 있다. 금도금의 이용가치는 주로 내식성이며 전기저항이 작고 열전도성이 뛰어나 전기접전부에 필수적으로 사용해야만 한다. 또한 2007년 유럽의 RoHS규정에 의해 피부에 접촉하는 팔찌, 귀걸이, 목걸이, 반지 등의 디자인 액세서리 제품에 있어서도 종래의 6가 크롬이나, 납, 수은, 카드뮴 사용이 금지되었다. 종래의 산성, 알칼리성, 중성 금도금에서는 주로 시안(Cyan) 기반의 전처리 탈지액이 사용되고 있어 작업환경에도 유해하며 생산성 감소로 이어지고 있다. 이에 전해 금도금 전처리 탈지공정을 개선함으로써 품질불량 20%감소와 함께 작업환경 개선으로 생산성 30%향상을 기대할 수 있다.

• Journal of the Korea Furniture Society
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• 제27권4호
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• pp.375-382
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• 2016

This study focuses on the shape of the bottle, the Chinese Qing Dynasty porcelain decoration. Consideration given to understand the basic form of the catheter, and the basic division. To study the binding form to the principles of the design work to prepare a lacquer on the basis of the results obtained here. When classified by type illness Qing Dynasty porcelain decorative porcelain six types, semi-porcelain could be classified into five types. Production form to pursue work in this study design is produced in the form of asymmetrical vases object type curve. These bottles of Qing Dynasty porcelain for decoration. The basic type of pottery types and selected six of its basic and applied work. Production design work was produced Hyupjeotae production techniques that facilitate formative representation.

• Journal of the Korean Home Economics Association
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• 제23권4호
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• pp.123-141
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• 1985

The purposes of this study were 1)to examine the present and the preferred design characteristics of major interior furnishings in the Gamsil apartment area of Gangdong-Ku and to investigate the relationship between those characteristics and residents' socioeconomic and their physical housing characteristics, 2) to determine the past and the future factor structures for attributes of the major furnishing, and , 3) to examine the change between the degree of the past and the future consideration on each of the attributes. The data for the study were collected using self-administered questionnaire. Households in Gamsil apartment area of Gangdong-Ku were the population. A proportional stratified systematic random sampling was employed. 480 questionnaires were distributed and 258 were collected. Among them, SAS package. The staticstics used were frequency, percentage, χ\sup 2\-test, factor analysis, and paired t-test.

• Proceedings of the Korea Institute of Fire Science and Engineering Conference
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• 한국화재소방학회 2011년도 춘계학술논문발표회 논문집
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• pp.73-76
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• 2011

최근 건축물에서 공동주택의 비율이 증가하고 있으며 동시에 공동주택의 화재비율도 증가하는 경향을 보이고 있다. 또한 화재 시 인명 피해의 주원인인 가연물은 소재가 다양화되고 있으나 안정성 보다는 디자인, 기능성에 치중되어 그에 따른 화재 위험성도 커져가고 있다. 따라서 본 연구는 전보의 실내장식물에 이어 공동주택에서 많이 사용되어지는 적재가연물을 가연물 조사를 바탕으로 선정하여 Furniture Calorimeter를 이용해 그 연소특성을 알아보았다. 그 결과, 소파가 타 시료에 비해 화재 시 높은 위험성을 나타냈으며, 일본건축학회에 발표된 데이터와 비교한 결과 소파의 데이터가 유사한 것으로 나타났다.

• Proceedings of the SOHE Conference
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• 한국가정과학회 2003년도 학술대회
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• pp.77-77
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• 2003

본 연구의 목적은 후프(hoop)의 기원 및 변천과정을 고찰해보고 시대별로 후프의 유형을 분류한 후, 포스트모더니즘 이후 더욱 다양해진 후프가 현대패션에서 어떻게 응용되고 있는지를 살펴봄으로써 후프의 역사적ㆍ미적 가치를 재인식하여 오늘날 복식디자인에 창조의 영감을 줄 수 있는 하나의 모티브를 제시하는데 있다. 후프가 발생하였던 르네상스시대에는 신 중심에서 인간중심으로 사고가 변화하면서, 복식에 있어서도 인간의 신체미를 과시하려는 의도로 인체의 실루엣을 과장ㆍ확대하고자 하였다. 따라서 속옷의 중요성과 역할에 따른 심미적인 기능이 복식에 절대적으로 필요하였고, 뿐만 아니라 기교적인 면에서 속옷에 요구되는 장식성은 어느 시대보다 절실하였다. 그 결과 겉옷이 확대되고, 이에 따라 속옷도 인체를 크게 보일 수 있는 후프가 고안되었다. 후프는 스커트를 부풀리기 위해 철사나 고래뼈 등을 세공하여 만든 테를 넣은 속치마를 말한다. 16세기 중엽 스페인에서 유행한 종형의 파딩게일(farthingale)을 시초로, 영국과 프랑스에서는 드럼형의 휠 파딩게일(wheel farthingale)과 오쓰뀌(hausse col)가 유행하였다. 17세기 초기에는 후프를 착용한 16세기 복식이 유행하였으나, 1625년 이후 슬림한 스타일의 17세기 복식이 유행하자 후프의 착용은 점차 쇠퇴하였다. 18세기에는 파니에(panier)가 유행하여 옆을 부풀린 스커트의 실루엣을 형성하였고, 19세기에는 크리놀린(crinoline), 벗슬(bustle)이 유행하였다.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• 제35권4호
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• pp.75-80
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• 2003

The purpose of this study was to design wedding dress by using Korean paper(Hanji). The Korean paper showed the good(excellent) properties of durability, softness, and tensile strength was 3.7Kg, tear index was 6 mN$.$$m_2$/g and folding numbers was 466. The appreance of Hanji was widely varied by blending(mixing) with other materials and various effects, pleating, crumpling, twisting and so on were achieved. The dress silhouette and form transformation of Hanji was very easy. Detailed points those are frill, pleats, gather, bow, paper casting, pin tuck for wedding dress were able to express easily. Hanji wedding dress has the natural texture because of natural properties of Hanji and that is echo friendly products.

• Journal of Fashion Business
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• 제7권2호
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• pp.55-68
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• 2003

The purpose of this research is to expand the realm of a button for a decorative purpose through embossing the effect and gravity of a button in fashion by designing the new ceramic buttons which are mainly used for decorative function in costume. In order to acquire a motif for the design, I analyzed several works of Gustav Klimt. As the result, those feature can be classified into the use of decorative lines, mosaic forms, and harmony of golden yellow and black, and it can be applied to buttons and clothes design. The sort of clay used in manufacturing the ceramic buttons was white clay to have high density and to diffuse light well, and press shaping techniques using plaster mold were employed. The baking was performed in an electronic kiln at $800^{\circ}C$ for the first time and at $1250^{\circ}C$ for the second time. Based on wearable designs in 2002/2003 F/W Trend of Interfashion Planning, I made three pieces of dress which could express the button's capability of decoration with effect. This is expressing a simplified form which shows up in details of and yellow and red pink were used to harmonize with golden yellow clothes. As an application of shapes of foliage in I transformed its size and form to be consistent with a jacket and a tube top. To accord with golden beige costume, I made a curve, showing up in Klimt's paintings, with golden color on a circle shape which was also a main motif in his paintings.