• Proceedings of the Costume Culture Conference
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• 2003.04a
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• pp.70-71
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• 2003

몬타나는 디자인 이미지를 예술성과 현대적 감각을 끊임없이 추구하여 끝없는 독창성과 개성을 입증하였다. 클래식, 미래적인 디자인, 조각과 회화 어느 한쪽에 치우침 없이 넘쳐나는 예술에 대한 열정과 탁월한 미적 감각이 바로 몬타나의 고갈되지 않는 창조성의 원천이다. 이는 특수한 표면 효과, 기존의 관점과는 전혀 다른 신선한 실험 정신으로 독특한 세계를 구축하였고, 시선을 자극하는 신(神)기에 가까운 완벽한 커팅라인으로 세상에 알려지게 되었다. (중략)

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.591-596
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• 2006

한국 신화는 우리 민족의 정신적, 역사적 원형이며 상상력의 원천이다. 그럼에도 불구하고 타문화권에 비해 신화의 발굴과 대중적 인식이 현저히 부족하다. 그러므로 한국 신화의 창조적 복원을 통해 게임 컨텐츠를 개발하고, 이를 OMSU 사업으로 확장시키며, 나아가서는 한국 신화를 대중화하고 세계화를 달성할 수 있다. 그 시도로써 콘솔용 액션 RPG 게임의 시나리오 창작과, 게임의 성공 핵심이 되는 그래픽 작업 중 캐릭터 디자인을 전개해 보려고 한다. 단순히 고증을 되살리려는 시도보다는 한국적 요소를 게임 캐릭터에 대입하여 한국적 이미지를 도입하는 데 의의가 있으므로 각 시대만의 독창적 요소를 조합하여 새로운 디자인을 시도하였다. 복식은 사료(史料)와 주변 국가의 회화 및 역사자료를 통합한 고증을 토대로 디자인하고, 이를 판타지풍의 게임에 맞게 새롭게 재조명하였다. 본 연구는 한국의 고대 신화와 설화를 원형으로 시나리오를 창작하고, 한국의 복식 요소를 가미한 판타지 게임 캐릭터 디자인을 포함한 문화 컨텐츠를 개발하는 데 목적이 있다. 시나리오는 주인공이 잠시 머무르는 사후의 세계에서 겪게 되는 여러 가지 여정과 적대역 캐릭터들과의 마찰로 기인되는 에피소드를 중심으로 이루어졌다.

• Smart Media Journal
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• v.4 no.4
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• pp.101-110
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• 2015

Every nation and every people has its own tradition and culture that have uniquely developed throughout history. In due course, such tradition and culture form a design DNA serving as the fountainhead of various creative activities. This paper is basically a general investigation on the traditional cultural legacy focused on the unique design DNA characteristic of the Korean culture. In particular, presenting the examples of innovation and creativity in the Korean traditional design, it attempts to analyze them from the perspective of following criteria: efficiency, purposefulness, aesthetics, and simplicity. The analysis confirms the fact that design is one of the important culture content resulted from its interaction with history and culture, which includes the influences of neighboring countries and cultures.

• Journal of the Korean Society of Costume
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• v.55 no.6 s.96
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• pp.82-96
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• 2005

This study focuses on the bag design as a creative design resource rather than on typical bag design as shown in previous research. 1'he purpose of this study is to develop creative and harmonious upper garments in good combination of bags and the sides of clothing. This study was performed with female college students whose age are front 18 to 24. The results of this study are as follows. First, bags are ideal for creative fashion in respect that they reflect modern trend. Second, ornamental materials such as string, chain, and buckle, which used to be details of clothing, are useful to present the characteristics of bags more effectively. This result has shown that details of bags are important determinant of entire fashion details. Third, it expands the sphere of expression of the bag, so the possibility of expansion to a distinguished expression of fashion design is recognized. From the study, we understood the structural characteristics and changes of detail of bags, proposing that the bags take important part in fashion design developments.

• The Journal of the Korea Contents Association
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• v.15 no.9
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• pp.61-71
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• 2015

Developing cultural contents in cultural creativity industry is very practical process recently. Research about Jeju's legend and myth should be the basic theory for cultural contents development based on local cultures. Jeju Naewotdang Musindo 10 gods paintings are unique colored pictures, appointed as Jeju folklore material No.7 and national important folklore material No. 240. Jeju-Do is remained the springhead of absorbed into unique culture for a long time because of Jeju's geographical environment condition. Jeju Musindo could be related with the symbol of Jeju's myth images and the springhead of emotions of our typical country people. It would be analysed by Wucius Wong's design style theory for approaching visual image and symbolic meaning. This research about Jeju Naewotdang Musindo 10 gods paintings could provide design analysis methodology for further theoretical studies about Jeju's legend and myth for Jeju's unique cultural contents.

• Archives of design research
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• v.19 no.5 s.67
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• pp.383-394
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• 2006

In 2005, Giorgetto Giugiaro unveiled the Ferrari GG50 at the 50th anniversary celebration of his design career. Beginning his career at the age of 17, he is a master designer who has achieved design revolution by uniting creativity, design methodology, and technology. He has been awarded a number of international prizes for his exquisite achievements and reputation for car design. Carrozzeria of ITAL DESIGN, founded by Giugiaro, is a company whose ideas combine cutting-edge technology and high quality craftsmanship. Beginning in car design, ITAL DESIGN achieved a positive reputation internationally and, since 1999, has expanded even more rapidly under its new name, ITAL DESIGN-GIUGIARO. The owner of 12 affiliates worldwide, all service systems are buyer-oriented, ensuring the highest level of technical consulting. Beginning with the 1971 Alfa Romeo Alfasud, the 1st major project, more than 100 cars have been designed in the past 35 years, leading to the production or in million cars by major motor companies around the world. Giugiaro has focused on practical performance as well as external beauty in his car design, the best of which enter the mass market. With his philosophy of "I want to be the 1st customer of my design" Giugiaro design invites customer participation and input to meet their needs and demands. Free from the routine, typical image, Giugiaro design has raised the bar for creativity and thinking beyond traditional values and ideologies.

• Archives of design research
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• v.13 no.4
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• pp.85-93
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• 2000

Design becomes a source of new competitive power in the boundless global market so-called globalization. The competitive power in business was lied in the technology in 70's and the design was understood as a styling or graphic means. However, the design has become more important means to get the competitive power in business since 1980. World businesses have found the fact that it has a super competitive power to make the product's performance as well as its dignity rather than it is to determine the product's external view or color. The change of design policy in Phillips, one of the world's leading producers of electronic products, is not much different. Design manager's power was limited until 70's. However, Phillips has focused its business strategy on the higher competitive power since 1980 and they welcomed Robert Blaich, vice president of design and development at Herman Miller Inc., to be a member of the company, expanding the importance of design along with restructure while working on the globalization. Meanwhile, Stefano Marzano, a Senior Director in 90's, established a high design concept, working on the strategic futures to get customer-oriented and for successful commercialization. The vision of the future developed over 3 years until 1996 was to forecast 10 years coming up and create a new value while achieving the business target through the design as an innovative design in bracing for the information network era.

• Archives of design research
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• v.18 no.3 s.61
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• pp.117-128
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• 2005

The French Belle Epoque is a period where the literary and artistic movement was very activated. The birth of the cubism reflects this atmosphere of the times and the change of paradigm in all fields. The Bergsonism is often designated as one of the important backgrounds of cubism. The problem consists in knowing if Bergsonian ideas gave real influence on the cubist movement and up to what point. Our analysis will show that it is not homogenous and very variable according to painters. In the case of Picasso and Braques it seems be a simple inspiration of Zeitgeist. But the influence upon Metzinger and Gleizes is explicit. The text of 1912, Du cubism, prove their attachment to his thought. The key concept of cubist theory, influenced by Bergsonian philosophy, is the concept of simultaneity. Cubist simultaneity is in one hand a reflection of an artist's psychological experience and the other hand a synthesis of multiple views for grasping the object in itself by the way of conceptual representation. The temporal simultaneity could be identified with the notion of memory, which is a temporal continuity connecting the past to dynamic present. The spatial simultaneity is a juxtaposition of multiple views obtained by the movement around the object. But the dose reading of Bergson's text shows that there is a divergence between the notion of cubist simultaneity and his ideas. The biased interpretation is often, as well as the strict understanding, like the history shows us well, a great source of inspiration and creativity. The cubist mouvement is not far from this case.