• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.2
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• pp.55-65
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• 2010

The present study purposed to compare formative expression between the fashion of the end of 19th century - early 20th century and that of the 21st century which were influenced by art nouveau and art deco. For this purpose, we analyzed contents in literature, Internet, etc.,. According to the results of this study, the formative expression of art nouveau were divided into continuous movement, optical illusion and decorative expression. Continuous movement was used to express fancy and soft images in the end of 19th century, and to express images giving the feeling of speed and tension in the 21st century. Optical illusion was expressed by the movement the thin and soft materials with the body movement and the movement of excessive frills adornment. And in movement produced using thin and soft materials and by the bias cutting method in the 21st century. Decorative expression was expressed as fantasy and decadent image in the end of 19th century and as mild passionate and modern image with color combination in the 21st century. The formative expression of art deco were divided into visual simplicity, contrastive loudness, and functional expression. Visual simplicity was expressed as a boyish image in the early of 20th century, but as a complex expression combining simplicity and femininity in the 21st century. Contrastive loudness was expressed by using colors both in the early of 20th century and 21st century. Functional expression was reinforced through the lightening of design and materials in the early of 20th century, but through using bias cutting high tech materials in the 21st century.

• Journal of The Korean Association of Information Education
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• v.9 no.2
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• pp.221-228
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• 2005

The art appreciation education is emphasized to develope independent thought and upright value decision in the flood of various image medium. A experience of beauty and a express part related with the sentimental field is focused on directing in the seventh arts curriculum, too. Although the art appreciation education is emphasized, just expressive and functional art texture is still taught in the education spot up to now. Also a appreciative activity is limited simply to describe own feeling intuitionally ; time shortage, difficulty of analysis product, difficulty of guiding appreciation. In this paper I refer that analyze figurative factors of a art product, modify it by applying other program, compare with it and then I develope web base art appreciation system and apply it. As a result I get educational effect. When checking line, form, light and darkness, color, feeling, space and composition of external some factors in a product, formative sense and analytical appreciation is improved.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.1
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• pp.61-78
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• 2016

This study through the literature research to understand the most representative art trend - the definition and evolution of the Cubism in the early 20th century, and through the analysis on the representative painter's works, such as works of Pablo Ruiz Picasso and Georges Braque, This article raises the unique characteristics of the Cubist painting, such as geometry modeling, simultaneity, transparency, collage, deconstruction and reconstruction, etc. On the basis of theoretical research in this study, in order to meet the novelty and originality of clothing design requirements in the field, this research uses the modeling characteristics of the Cubist painting, designs and makes five sets of works in costume designing. Research findings are as follows, 1) According to the geometry modeling, split garment surface into triangle or irregular polygon shaped. 2) Show front and side images of the characters in the same garment surface. 3) Overlapping the images of the characters in the same garment surface. 4) Make use of composite materials to express the characters. 5) Disassemble the characters recombine them in an abstract painting way. These works mainly completed by adopting some techniques like Patchwork and Figurative painting. The colors consist of red, yellow and blue caused "Three primary colors series" to achieve the goal of expanding visual effect. Additionally, for the sake of the formal beauty-deformation distortion, symmetric and asymmetric, for instance the structure of the costume adopts formal beauty technique.

• The Journal of Art Theory & Practice
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• no.9
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• pp.151-170
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• 2010

As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term 'plastic architecture.' The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an 'open' architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, 'plastic architecture' turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in 'perfect harmony.' However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.

• Fashion & Textile Research Journal
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• v.19 no.5
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• pp.535-546
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• 2017

This study considers direction types and formative characteristics by analyzing natural objets in contemporary fashion window display. The research methods are both literature review and content analysis based on images of contemporary fashion window display. The conclusions of this study are as follows. First, the direction types of natural objets in contemporary fashion window display expand objective outlines by maximizing the morphological form of objects. Second, a rhythmic sense expressed through a gradual repetition of patterns or a sequential arrangement of natural objects. Third, it represents a reversal of image accomplished through a modification of material on the natural objects. Fourth, a new space is created by transforming two dimensional forms of natural objects. The first formative characteristic of natural objects in contemporary fashion window display is exaggeration. This is expressed through either the expansion of the external volume, the collapsed form of natural objects, or the distortion of external colors. Second, it is a dynamics. This makes it possible to recall the dynamic image of the integration of the observer with a priori thinking by systematically sequencing objects or inducing a specific motion. Third, it is an abstraction. This provides an opportunity for the observer to find in a natural beauty by exchanging physical form or reinterpreting characteristic points. Fourth, it concerns eclecticism characteristic that objects created through the mutual fusion of heterogeneous elements indicates an aesthetic inspiration in a limited space by diverting conventional thinking toward natural objects with expansion of consciousness on formative arts.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.209-221
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• 2013

This study has attempted to investigate the effect of cubism on fashion and figure out how its formative characteristics have been expressed in contemporary fashion in the 21st century, focusing on the period since 2010. The propose of the study is to broaden research scope in fashion design through analysis and inspection on formative aspects among the cases which have proposed brand - new fashion designs by adapting cubism in fashion. To find out the characteristics of cubism in painting and formative characteristics of contemporary fashion in which the characteristics of cubism are reflected, a literature review has been conducted by referring to domestic and foreign books, previous papers, academic journals and Internet resources on cubism. For an empirical study, in addition, photos of cubism-applied modern fashion have been collected and analyzed through http://www. samsungdesign.net. The following results have been obtained: First, the formative characteristics of cubism were obtained in following categories; character of figure, simultaneity, reiteration and facticity. Second, according to analysis on cases after applying the formative characteristics on contemporary fashion design, the character of figure by the geometric shape of cubism was observed in fashion as well. After dismantling and reconfiguring garments, simultaneity has been expressed in an exaggerated and distorted manner through regular and repetitive overlapping or overlapping of irregular shapes. In terms of facticity, novelty has been delivered with the use of heterogeneous materials, using collage and patchwork techniques. Third, simplicity and functionality in cubism - style garments in the early 20th century have disappeared in contemporary design in the 21st century. Now, a dynamic aspect is only found. Fourth, unlike common paintings, 2D textiles are added to a 3D body in fashion design. In addition, it can be observed from multiple angles depending on the movement so that it can display more diverse shapes. Therefore, it could be the origin of inspiration to many designers.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.8 s.145
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• pp.1057-1067
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• 2005

In the modem society, people try to represent and protect their traditional arts in aesthetic way along with the global society. The proposal of this thesis is about the fashion illustration that has adopted the folklike formative arts. 1 prefer the formative character rather then the universal character and I would like to use of folk paintings far the fashion illustration. Because the formative character of folk paintings is very expressional, we are able to draw a fashion illustration in easy, new, creative and less difficult way. The fashion illustration has to be a specialized field from the formative arts, and we need to study in a new way as well. We draw fashion illustration through the understanding of folk paintings and the study of analysis in formative. As a result of this study, we could draw a fashion illustration which is very abstract, exaggerative and simple. We also could expect the free hand drawing lines on this illustration. In these fashion illustrations, the human bodies let us fret the artists' tense, speed, and power. According to the important character of folk painting, which is the beauty of color, these fashion illustrations have expressed more color intensive. In the falk paintings there is a kind of rules to make color order, so the fashion illustrations that we drew have the bright and clear color combination. Because the folk paintings shouldn't be the artistic but should be the realistic, the fashion illustrations concentrate on the real subject. It is very natural looking that use the natural dyes in the fashion illustrations. According to this kind of art task, fashion illustration will be a certain part of the illustration in the modem society.

• The Research Journal of the Costume Culture
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• v.20 no.1
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• pp.72-82
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• 2012

The purpose of this research to look into formative characteristics of eco T-shirt design. Previous study researchers have mostly focused on overall eco fashion design, but on the other hand the research on eco product entity leaves much to be desired. We analyzed formative characteristics of eco T-shirt design that is easily accessible in real life and is easy to passing message. We selected 23 eco brands through internet and analyzed total 500 photos of eco T-shirt. Each photo was categorized by sex and the nations which belong to the eco fashion world associations. The content and statistical analysis was used for data analysis. The content of the research is as the following. First, it was found out that basic straight silhouette, achromatic color, human pattern, plant pattern, and eco-friendly organic material were used for the design of eco T-shirt. Second, it showed difference of silhouette, color, pattern according to nations. Third, it showed difference of silhouette, color, pattern according to sex. Fourth, symbolism of eco T-shirt was nature love, nature support, society ethicality, anti-sociality, and economics. This research aims for providing practical help and assistance to the development of eco T-shirt and its relevant industries.

• Transactions of the Korean Society of Mechanical Engineers A
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• v.37 no.1
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• pp.61-66
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• 2013

With the development of layered manufacturing, thermally conductive molds or molds embedding conformal cooling channels can be directly fabricated. Although P21 tool steel is widely used as a mold material because of its dimensional stability, it is not efficient for cooling molds owing to its low thermal conductivity. Hence, the use of functionally graded materials (FGMs) between P21 and Cu may circumvent a tradeoff between the strength and the heat transfer rate. As a preliminary study for the layered manufacturing of thermally conductive molds having FGM structures, one-dimensional P21-Cu FGMs were fabricated by using laser-aided direct metal tooling (DMT), and then, material properties such as the thermal conductivity and specific heat that are related to the heat transfer were measured and analyzed.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.4
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• pp.1-16
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• 2020

This study focused on front-blouse-type skirts from the 15th and 16th centuries and aimed to investigate their formative characteristics and wearing patterns. Previous studies, literature, records, paintings, and excavated clothing items were used as research materials. The researcher categorized front-blouse-type skirts into three types based on the construction method. The first has the front-center portion of the skirt folded up, the second has the center portion cut short, and the third has horizontal dart pleats on either side. An examination of 48 items from 18 excavation sites of front-blouse-type skirts showed that only the front-center portion folded up type appeared in the 15th century, and it was only in the 16th century that the other forms of skirts were worn. Finally, based on the analysis, the pattern of wearing front-blouse-type skirts and their changing factors was deduced. Front-blouse-type skirts were identified as ceremonial skirts that were popular in the 15th and 16th centuries among the types of long skirts available. The popularity and usage of this type of skirt began to spread gradually in the 15th century. In the 16th century, various types of front-blouse-type skirts were brought into vogue by the royal family and the external register. It can be inferred that the popularity of front-blouse-type skirts gradually declined in the 17th century as other types of long skirts, folding skirts, and Sran type skirts emerged.