• 한국의상디자인학회지
• /
• 제20권4호
• /
• pp.105-115
• /
• 2018

This paper presents an investigation into Cheollik based on 288 records about it at the homepage of The Annals of the Joseon Dynasty on the Internet. Cheollik was called in diverse names and worn by various social classes from kings to common people, but it was solidified as clothes for military officers toward the latter half of Joseon. Not only did it serve the purpose of clothes, but it also was used for a royal grant, diplomacy, shrouding a corpse, and royal coffin. It served the diplomatic purposes a lot especially during the reign of King Sejo and King Seongjong. Cheollik was usually made of cotton, hemp, silk, and mixed fabric with silk used most. Its major colors include white, green, red, blue, black, purple, grey, and yellow with white used most. The fabrics and colors of Cheollik became simplified toward the latter half of Joseon. Silk was most used in Cheollik for a royal grant, shrouding a corpse, and royal coffin. White was most used in Cheollik for kings' visit to royal tombs or their participation in ancestral rites. There were limitations with the selection of materials according to the social status and situations. It was stipulated that only Sa and Ju were used to make Cheollik for Dangsangguan and Danghaguan. Cheollik made of silk was banned for country residents and merchants. The color of Cheollik for Danghaguan was changed to blue and then red. Of military officers, only those who had a Gonsu title or higher were allowed to wear Cheollik made of silk in various colors. In the end, Cheollik was abolished for its low convenience and efficiency during the rule of King Gojong.

• 만화애니메이션 연구
• /
• 통권40호
• /
• pp.243-260
• /
• 2015

안동 지역에서의 '원이엄마'를 모티브로 제작된 특수 영상 콘텐츠 애니메이션은 전통소재의 지역 콘텐츠의 발굴과 지적 재산권의 활용에 주요한 사례 연구로서의 가치를 가진다. 한국적 콘텐츠 개발의 과정에서의 사실 요소(FACTOR)와 픽션(FICTION)의 결합은 디자인 개발과 콘텐츠 연구에 중요한 부분으로서 작품 개발에 가장 큰 영향을 미치는 것이며, 전통 문화 캐릭터 개발 과정에서의 창의성 및 독창성과 함께 프리 프로덕션(Pre-Production)의 과정에서의 원화 기획의 핵심 역할이다. 한국적 콘텐츠는, 개발과정에서 한국적 캐릭터 개발과 함께 지속적으로 심도 있게 다루어 할 연구 과제이다. 여기에 각 캐릭터 디자인 구상과 기획에서의 과정의 고찰이 필요하며, 본 연구의 방향은 콘텐츠의 각 캐릭터 중 주요 주인공 캐릭터 개발의 과정을 통해 전통 문화 캐릭터가 개발되는 과정에 대한 이해와 사항들에 대한 디자인 결과물 연구이다. 의상과 고증을 통한 객관적 캐릭터 개발과정을 제시하여 전통문화 캐릭터 개발에 대한 이해과 방향을 제시하였다. 본론과 결론으로서는 전통적 문양 등의 개발 전체의 기획이 주인공 캐릭터에 어떤 형태로 적용되는지에 대한 과정과 도출, 그리고 세대 연령별에 따른 주인공 각 캐릭터에 대한 디자인이 드로잉 되었고, 안동시와 전통 캐릭터가 전통콘텐츠 창출에 어떤 의미를 가지는 것인지를 제시하였다.

• 한국의류산업학회지
• /
• 제25권4호
• /
• pp.439-448
• /
• 2023

Korea's original traditional costume designs have a great potential to be re-imagined from a global perspective and developed into high-value-added fashion culture products that can enter the international market. This study applied the structural features of traditional clothing to the design of fashion cultural products. This study developed designs using Beja, Sagyusam, Aekjuem-po, Danlyeong, Cheolrik, Jang-jegori of Korea. To the best of our knowledge, this study is the first to conduct a literature survey of traditional Korean clothing. We designed shirts using Adobe Illustrator and created a pattern with the Yuka program. This design was applied to a three dimensional virtual dressing system called CLO. A survey of individual interest in developed fashion cultural products was also conducted. The shirt designs were obtained by applying the details and structural characteristics of traditional Korean clothing. Among the six shirt designs, when asked which design would be suitable for wearing, gifting, or uniform, the shirts with the design of Danlyeong, Beja, and Sagyusam were generally highly preferred. This study can be used as basic data for the global market for fashion cultural products, and can contribute to the inheritance and development of culture and tradition by maintaining Korea's uniqueness in the modern global era and increasing tourism revenue.

• 복식
• /
• 제59권1호
• /
• pp.94-105
• /
• 2009

Jeogori, Korean jacket, can be categorized into two styles. Traditional style Jeogori is based on conventional construction method for ceremonial or festive occasions. Contemporary casual style Jeogori is based on western style flat pattern making for better fitting and functionality. Traditional style Jeogori is quite flat on human body because it is not considered the grade of shoulder line and is drawn by vertical & horizontal line. This characteristic feature causes weakness in functionality and comfort compared to contemporary casual style. Apparently contemporary casual style has better wearing comfort. Yet to most Koreans, contemporary style Jeogori seems to lack of some characteristic style of its own. This study is to find out how to make Jeogori well balanced in terms of functionality, fit, comfort and traditional style. Currently used Jeogori patterns are compared in order to select the best among them. Onto the selected pattern, several alterations were tried focused on shoulder, armhole and sleeve lines to make optimal modifications. After several comparative fitting tests, the final pattern making method was suggested.

• 한국의류산업학회지
• /
• 제8권6호
• /
• pp.627-633
• /
• 2006

This study examined the kinds, expression, techniques and arrangement of patterns for the traditional women's costume from 1995 to 2002 in North Korea. And the results were compared with South Korean. Conclusions are as follows : In the kinds of patterns the natural plant patterns were much more frequently used in North Korea. These tendency was same to South Korea. And the geometric patterns were more frequently used in South Korea. According to frequency in the expression of patterns, it was the realistic, geometric, stylized shape in North Korea. To the contrary it was the stylized, geometric, realistic shape in South Korea. In terms of decorative techniques, not only the traditional embroidery, gold leaf, multicolored stripes, but also modern collages, painting, beads, applique, flounce, ruffle were used in North Korea. Modern techniques were found comparatively a lot in North Korea, traditional techniques were found comparatively a lot in South Korea. In terms of arrangement of patterns, the modern arrangement was much more frequently used. And localized type of modern arrangement was found comparatively a lot in South and North Korea. Therefore traditional beauty was generally expressed by natural patterns, realistic shape and modern beauty was generally expressed by modern techniques and arrangement of patterns in North Korea.

• 한국의류산업학회지
• /
• 제9권5호
• /
• pp.478-485
• /
• 2007

This survey is about the disposition of ornament for the traditional women's Jegori and Chima in North and South Korea. And the results are as follows: Disposition of part was used a lot in Jegori and Chima by both North and South Korea. In the existence of ornament, the number and range decorated part and a type of disposition, there were the differences between North and South Korea. There were not many Chimas with ornament in South Korea, which means that South Korea focused on decorating Jegori. The number and range of decorated part in South Korea were many. Disposition type of Jegori ornament in South Korea was various but in North Korea disposition of type of Chima ornament was various. Compared to the traditional disposition, South Korea's Jegori tended to follow the traditional disposition. In case of Chima in North and South Korea and Jegori in North Korea, the proportion of traditional disposition, altered traditional disposition and modern disposition was little different.

• 한국의류산업학회지
• /
• 제22권4호
• /
• pp.446-455
• /
• 2020

In order to develop high value fashion culture products capable of reaching the global market, this study developed the original traditional clothing design of Northeast Asian countries according to a global perspective. This study applied the structural formality of traditional clothing to fashion cultural products. This study developed designs using Deel of Mongolia, Makap of China Korean Dang-ui / Dan-ryung, and Haori of Japan. The research methods are theoretically examined using literature on traditional clothing in Northeast Asia. First, it designed a shirt design using Adobe Illustrator CS6 and created a pattern with the Yuka program as well as applied CLO 5.0 (a 3D virtual dressing system from CLO Virtual Fashion Co.). A survey was also conducted on individual interest for the developed fashion cultural products. The design method obtained various design effects by applying the method of adding point detail parts of the clothes to the shirt that represented each country among their traditional clothes. This research can be used as basic data for the global fashion cultural products market that can contribute to maintaining the originality of each country in the global era, expanding tourism income to succeed and develop culture and tradition.

• 천문학회보
• /
• 제37권2호
• /
• pp.92.1-92.1
• /
• 2012

홍대용(洪大容, 1731~1783)이 저술한 "담헌서(湛軒書)" 외집 권6의 <주해수용(籌解需用)>에는 수격식 천문시계인 혼상의(渾象儀)에 대한 기록이 나온다. 우리는 홍대용 혼상의에 대한 구조와 작동 메커니즘에 대한 연구를 통해 복원 모델의 개념설계를 진행하였다. 혼상의는 세 개의 환(環)과 2개의 층(層)으로 되어 있다. 외층에 해당하는 환 구조는 자신이 제작한 혼천의인 통천의(統天儀) 구조와 유사하다. 내층에 해당되는 혼상구에는 별자리와 은하수를 그려넣고, 태양과 달의 모습을 구슬 형태로 매달아 천상의 운행 모습을 구현하였다. 통천의는 추동력으로 운행되며, 혼상의는 물에 의한 수격방식으로 운행된다. 홍대용의 수격방식은 조선에서 전통적으로 사용한 동력체계로 중국의 대표적 천문시계인 수운의상대의 동력체계를 간소화시켰다. 혼상의에 대한 기록은 조선시대 수격식 동력체계를 다룬 거의 유일한 문헌기록으로 수격식 작동 메커니즘 연구에 중요한 단서를 제공해 주고 있다.

• 한국의상디자인학회지
• /
• 제16권4호
• /
• pp.15-25
• /
• 2014

The purpose of this study is to promote the artistic value and formative aesthetic of clothes in daily life through a proposal of inventive fashion design by utilizing Depaysement of Surrealism, which visualizes a more realistically and more specifically than fact in illogical and unfamiliar situation, Focused on details of Korean traditional costume silhouette. The method of this study, the literature and existing researches related to Depaysement were analyzed through theoretical review for establish the expressive techniques of Depaysement expressed in contemporary fashion. Conclusions from this study are as follows: first, the expressive techniques of Depaysement are derived that are 'change of scale', 'change of materials', 'combination of heterogeneous objects', 'arrangement of object in a strange space', 'overlapped object', 'paradoxical image', 'variable awareness of boundary.' Second, expressive techniques of Depaysement present a new methodology which can express an irrational thinking, which is not controled by reason such as unconsciousness, dream, and fantasy etc, in a way that is easier and more realistic rather than thinking centered on an art which is ruled by consciousness. Third, unique and free-form fashion design, which destroys a general idea, was could develop by using abundant materials and composing items borrowed various silhouette for expressive the techniques of Depaysement. Forth, Through this study, the concept of Korean fashion design, that was limited by the standard form when we approach Korean fashion design as identity of social culture, ideology of reflection and expression, object of commercial expression, was could think outside of the box.

• 한국의상디자인학회지
• /
• 제11권2호
• /
• pp.23-32
• /
• 2009

The purpose of this study is to research fabrics, colors, and arrangement of color in Jogak-bo which were developed during the late Chosun dynasty. It is expected that from the analysis of the number, distribution and arrangement of colors of Jogak-bo in the late Chosun we can suggest various color arrangements thoset can be applied to modern fashion are summarized as follows. First, as for the number of colors of Jogak-bo according to material, silk fabrics Jogak-bo used a variety of colors whereas hemp fabrics Jogak-bo mostly used one color showing contrast between silk fabrics Jogak-bo and hemp fabrics ones. Second, as for the distribution of colors of silk Jogak-bo and hemp fabrics ones, warm colors were used most frequently. On the other hand, fewer achromatic colors were used to silk fabrics Jogak-bo, and they were more applied to hemp fabrics Jogak-bo. As for the use of cold colors, fewer cold colors were applied to hemp fabrics Jogak-bo compared to silk fabrics Jogak-bo. Third, as for the arrangement of colors, various colors were used in silk fabrics Jogak-bo, but a single color or not more than 1 color was applied to hemp fabrics Jogak-bo. It well demonstrates brilliance and glamour of silk Jogak-bo and stability and unity of hemp fabrics Jogak-bo. As for the arrangement of colors of Jogak-bo, most of Jogak-bo showed contrasting colors and shades, and similar colors and shades were hardly found in silk fabrics Jogak-bo whereas they were frequently found in hemp fabrics Jogak-bo.