• 조형예술학연구
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• 제10권
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• pp.111-159
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• 2006

The study is to examine the concept, origin, developmental process, and characteristics of 'Kioonsangdong,' or 'lively energy' to look into whether 'Kioon' maybe interpreted by modern sense and sensitivity and be applied to contemporary creative activities, and to explore whether the ideality of 'Kioon' may be transferred into visualization in pictures. The article defines the scope of 'Ki' as 'Ki(energy)' of artistry and sees the Wei, Chin and the South & North dynasties as its derived point. In Chapter I, before the examination of 'Kioon,' 'the relationship of Ki and Oon,' and 'interrelationship of Kioon (energy) and Sangdong (liveliness) are investigated. It is impossible to define Kioon in a word due to its being abstract. Thus, although it does not seem to be unlimited, focusing on putting a variety of concepts of Kioonsangdong in order, it classifies the subject, from which such Kioon reveals itself, into 'its former self,' things of the object,' 'character,' and 'brush and Chinese ink.' Then, with selected representative works for each category, it examines how Kioonsangdong is reflected in the works. In addition, it comprehensively argues on Kioon through presenting the points of Kioon theories by many an art critic and artist from the Wei, Chin and the South & North dynasties to modem China. In Chapter II, the study analyzes the Kioon-reflected works that have been examined in Chapter 1 in the light of the Kioon theories of 'blanks,' 'styles of brushmanship,' and 'techniques of Chinese ink,' and by selecting and analyzing representative artists and works in each era, it investigates how Kioon had been transformed as times had changed. In Chapter III, which is the core of the study, is on contemporary interpretations of Kioon. I intend to interpret Kioon as scent. In other words, through replacing abstract Kioon with the olfactory sense, actually realizing and forming it, and then visualizing it onto my own work, I attempt to grope for contemporary interpretations of Kioon. That is to say, I explain how Kioon is transformed into scent on the grounds that the origins of Kioon may be detected in literature and aesthetics. Besides, the study looks into the process that 'the scent of the olfactory sense' turns into 'the scent of art,' which I assert by contemporary interpretations, and shows in details that it may be visualized in pictures presenting quotes. In Chapter IV, it analyzes Kioonsangdong expressed visually as the scent of art in my own work in terms of the three techniques of blanks, brushmanship, and Chinese ink.

• 조형예술학연구
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• 제11권
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• pp.79-108
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• 2007

"Printing is an Art of reproduction & a Technique of However printing has extended its limitation from a genre of reproduction itself and now it stands on the turning point as an art such as painting or sculpture which expresses artist's originality. Early Printing has had relations in depth with press printing in terms of information recording, preservation, and transmission. It was acknowledged value in a way of information satisfaction different from how it is valued as a pure art today. But, later printing has transferred its function from a mean of reproduction to pure art due to the development of printing skills and photography invention. It can be said that the concept of modern printing is taking over its genealogy as a creative work not as just printing. Also its expression capability is widen to dimensional printing and high-tech multimedia from original tradition techniques. As we discussed above, modern painting is very open to various changes. This modern painting aspect can be seen as an extended interpretation of 'board' concept. This dissertation raises a question why monotype and monoprint couldn't secure its position in printing history in spite of numerous artists' tryouts in its way. Monotype and monoprint fundamentally based on intaglio technique in its history. Yet, its systematic study hasn't been worked out. This is because of the lack of recognition of monotype and monoprint's originality as printing. Especially in monoprint, it has known as an early stage in copperplate printing process which is an attempt to solve the technique limitation or trial work for edition. Likewise the reason why monotype and monoprint remains at the edge of printing border ambiguously is because of conceptual, technical characteristics which are against traditional printing. In traditional printing, the concept of board is important as a method of reproduction. Different from the fact, monotype and monoprint accept the form of medium 'board' conceptually out of limited condition as mentioned. Thus monotype and monoprint hasn't stand out for several reasons until late 20th century when it started come out to public as people starts to have interests that works from famous artists are actually based on monotype and monoprint. This dissertation likes to step into the monotype and monoprint theoretically which is not well known in domestic and try to study the meaning of monotype and monoprint as a printing medium which is also hasn't been considered sincerely. For this study the process follow as below. First, look into how monotype and monoprint has a concept and history. Next, check differences through comparison with traditional printing and how printing can be understood in what aspects at the same time. After, verify how monotype and monoprint have influence on the acceptance of extended concept of 'board'. This study will show the expressional possibility of monotype and monoprint which has already known as 'tableau printing' in today's situation where adventurous experiments of printing medium are going on with the development of technology.

• 한국의상디자인학회지
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• 제6권2호
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• pp.103-109
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• 2004

This study attempted to investigate the plasticity of Korean paper expressed in contemporary fashion after general inquiry into Korean paper and examine the aesthetic beauty of fashion design using Korean paper. It used the literature review and empirical data analysis together. Korea-paper fashion design, the object of actual investigation, was for Korean-paper fashion from the 1990s to the present. As a result of analysis, the following findings were obtained: First, the natural, warm and soft texture seen as pureness in Korean paper enables us to elicit naturalness from liberalness. In addition, Korean paper not only has the tough characteristic of its material but also has the natural characteristic of abandoning its original nature and complying and adhering to its a given nature. Korean-paper fashion design, using this natural beauty and frank nature, bears the pure image of excluding decoration. Second, the overlapping of the surface on the surface expressed in Korean-paper fashion design forms one space with the sense of depth because of its transparency and expresses temporality through repetition. And the work of folding it with other materials and pasting them up with together demonstrates the effect of reflection because its original transparency. This effect is the specificity created in the collage technique using Korean paper and is the advantage of coming to obtain a wider freedom of expression. Korean-paper fashion design expresses transparency using this repetition and overlapping, Third, Korean paper has the simple rather than luxurious aspect. Owing to this nature, fashion design looks as if there were the greed inherent behind the work made from Korean paper though the complex technique applied to it. And it expresses the restraint of Korean paper using its original white color, the exclusion of decoration and simple design. Fourth, Korean paper is more likely to be changed by the outside influence because of formation. It has its peculiar aesthetic value and original artistry to an extent that it is regarded as one artistic work. The quality and texture of Korean paper diversely vary according to the artist's working process. Like this, Korean paper is easily fused into some object without exclusivity though it may be added to it. Korean-paper fashion design has the beauty of creation that is to create a new world because Korean paper is fused into another material due to its soft nature.

• 미술이론과 현장
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• 제1호
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• pp.71-92
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• 2003

This study examined the condition of an educational discourse, relating the concept of creativity, culture, culture-centered, and critical thinking, to explore Culture-based Art Education(CBAE). In particular, art education practice was examined using interpretations of creativity and critical theory positions from the field of education. Discourse analysis was used as the research method to contextually situate and analyze the ways in which art education theory and practice of creativity and of critical studies encoded meanings. The study helped build an understanding that creativity was formed as a modernist discourse in the humanistic stance. In education, creativity became the fundamental concern for progressive educators who pursued innate ability of individuals. The way to enhance creative potential of students was to induce their motive, as was the same case in art education, while in artist training, free expression was its main method. In this way, as creativity was intimately connected with the concept of expression, in art education art making is the only course for enhancing creativity. However, because creative process cannot intelligently be regarded as logically distinct from the creative product, and creativity can only be said by product, it seems valid to think that creativity is the quality not to be achieved by teaching. Furthermore, its emphasis on art making resulted in unbalance of art making and art appreciation in art education. It was the late sixties when several alternatives for creative education were made their appearance. Critical studies in art adopted critical theory as its theoretical background has developed as an alternative of creative art education, when research and theory for creativity could not be adequate to deal with the problem of practice. Critical theory is a broad and diverse field of theory and practice drawing on aspects of the modernist perspective of the later Frankfurt School, feminism, Freirean pedagogy, postcolonial discourse as well as postmodernism to construct a practical approach to education. It is very this eclectic nature to provide the mosaic that need to experience cultures from different perspectives in a pluralistic society. Because one's personality is formed by multiple aspects of culture which is very complex and is made up of what we do and value, creativity cannot make part of educational discourse with the philosophy of culture centered. On the other hand, critical studies, as a school art program of critical theory, can perform the role of CBAE, because it would have to deal with the investigation of social and cultural issues form multiple personal, local, national, and global perspectives.

• 정보처리학회논문지B
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• 제19B권3호
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• pp.155-164
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• 2012

일반적으로 추천시스템의 구성변수가 많아질수록 평가함수 R을 극대화하는 것은 유리하나 계산의 복잡성으로 예측성능과 추천유효성을 저해할 수 있어 구성변수의 증가와 추천 성능을 동시에 해결하는 것이 필요하다. 본 연구는 이러한 과제를 해결하기 위해 음악추천시스템을 대상으로 음악추천 시 평가함수 R을 극대화하기 위한 다차원 구성요소와 이들의 상대적 중요도에 대해 연구하였다. 이를 위해 관련 선행연구를 바탕으로 도출된 수식과 차원들을 이용하여 다차원 최적화 모형을 수립하고 다차원 최적관계를 도출하기 위한 실제 고객의 사용로그 자료를 활용하여 다중회귀분석을 하였다. 그 결과 음악선호평가에 있어 상품차원, 사회관계차원, 사용자차원, 상황차원 순으로 상관관계가 높은 것으로 나타났고 특히 사회관계차원의 구성변수인 인기곡과 상품차원의 구성변수인 음악장르, 최신곡 및 선호아티스트가 음악선호평가와 상관관계가 높은 것으로 나타났다. 한편 도출된 다차원 추천모형은 사용자 상품의 2차원 추천시스템 및 사용자 상품 상황 또는 사용자 상품 사회관계의 3차원 추천시스템과 성능을 비교 평가한 결과 종속변수인 평가함수 R에 대한 투입된 독립변수들인 각 차원들의 설명력이 가장 높고 또한 평가함수 R과 사용자차원, 상품차원, 상황차원 및 사회관계차원의 개별 상관관계도 더 높은 것으로 나타났다.

• 복식
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• 제18권
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• pp.225-245
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• 1992

The button is a part of costume. But it has the symbolism of costume in itself and reflects the sociocultural phenomena. The purpose of this study is to clarify symbolism of button of eighteenth and nineteenth century which had been most popular. This study is based on the library research. Through this paper, I reached conclusions as follows. The symbolism of button is found in various ways. First, Aesthetics is found in material, color, design and type etc. of button. Especially Indian silver button of abstract type shows well distinctive aesthetics of Indians. Second, The material and the number of button vary with one's status and show off one's privilege. I England, there was the rule, in which the symbol of the King was a silver button with a figure of lion. The livery button represents his family to the nble and shows the meaning of obedience to the servant. Third, The button on uniform varies with ranks. This is prominent in a uniform of a soldier or a policeman. Fourth Material and craft of button show one's economic position. The button gives a Very good picture of what one's life was then. Precious button with gold, silver, and other jewels is an index to one's property. Fifth, The button of political event is used for election, which shows the face and the name of runner. Besides that, there were buttons designed for the flag or the slogan for political event. Sixth, The button of social event reflects a social phase of life in war or revolution, for example, it satirizes the burning of the Bastille in the French Revolution, or the taxpayer bearing the burden. Seventh, the buttons that symbolize a historic event are made to commemorante an epochal and critical occurrence or an important person's birth, death, visit to some place, etc., Eighth, there were well-known persons, for example, a president, a king, a queen, a singer, or an artist in the buton of personality. Nineth, The button of one's company shows one's community in figures or pictures, that is, this button is used as a symbol one's community. Tenth, The button varies with the development of science and technology. It gives a very good picture of what it was and what the technological level was. Eleventh, The buttons that symmbolize on occupation most impressively are uniform buttons. Symbolic marks related with a particular occupation are carved on the buttons of compary employees' uniforms. Twelfth, Various natural phenomena are designed to appear on buttons, Some express themselves simply as they are, and others appear as a symbolic form such as environmental relationship between men and nature, four seasons, a constellation and all other natural things occurring during a year. Finally, The button of rebus is a motto expressed by a combination with objects figures, letters, words, or phrases.

• 디자인학연구
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• 제20권1호
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• pp.287-296
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• 2007

최근 우리나라 여성들의 패션경향은 단순히 유행을 따르던 시대를 지나 자신만의 개성적이고 독창적인 미를 살리려는 방향으로 흐르고 있다. 이러한 시대적 요구에 부응하여 패션 디자인에 있어서 새로운 아이디어를 개발해야 함은 당연한 일일 것이다. 본 연구는 1960년대 팝 아트의 대표적인 작가인 로이 리히텐슈타인의 작품세계를 연구하고 이를 현대적 감각에 맞는 의상과 접목시킴으로써 예술세계의 실용화와 더불어 의상세계의 예술화를 추구하였다. 연구의 결과는 다음과 같다. 첫째, 로이 리히텐슈타인은 만화를 비롯한 인쇄 매체물에 환등기의 기계적인 기법을 도입하여 벤데이(Ben Day)점들을 창안해 내었다. 본 연구는 그의 작품을 응용하여 의상을 제작함에 있어 그 작품의 특징 중 벤데이 점과 사선, 삼원색의 기본색 사용, 단순화된 평면 형태에 주목하였다. 둘째, 그의 작품의 대표적인 특징인 벤데이 점은 의상에 응용하여 다양한 모양과 크기와 색의 다트(Dot) 문양으로 응용하여 표현하였다. 그리고 그의 사선은 다양한 크기와 색의 스트라잎(Stripe) 문양으로 표현하였다. 셋째, 그의 작품에 사용된 삼원색과 무채색을 의상의 기본 색상으로 사용하였으며, 단순화된 평면 형태의 조형적 특징을 활용하여 단순하고 대담한 스타일의 의상을 디자인 하였다. 로이 리히텐슈타인의 만화적 이미지의 이용, 망점 스크린과 사선, 강렬한 색채 등은 더욱 다양한 방법으로 연구되어지고 미래 많은 패션 디자이너에게도 무한한 디자인 영감을 제공해 줄 것으로 기대된다.

• 감성과학
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• 제14권3호
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• pp.415-424
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• 2011

인터랙티브 미디어 아트는 상호작용을 통한 관객의 참여와 소통이 가장 중요시 되는 예술이라 할 수 있다. 종래의 예술작품을 관람하는 관객은 작가가 전달하는 메시지를 일 방향적으로 수용하는 입장이었다면, 인터랙티브 미디어 아트를 관람하는 관객의 입장은 작품과 상호작용하면서 작품을 완성하는 적극적 참여자이며 생산자적 입장으로 변화 되었다. 본 연구는 수용미학적 측면에서 인터랙티브 미디어 아트 전시장에 전시된 작품의 사례를 통하여 인터랙티브 미디어 아트 작품과 관객이 어떤 방식으로 상호작용하고 작품과의 교감이 이루어지는지 살펴보고, 전시 해석매체인 도슨트의 설명과 월텍스트를 활용하여 관람하였을 때 관객의 감성커뮤니케이션에 어떠한 영향을 미치는지 실험하였다. 도슨트는 작가의 의도와 작품에 대하여 스토리텔링 방식으로 설명하면서 관람자로 하여금 자연스럽게 작품에 집중하도록 유도하였다. 그 결과 작품과의 교감도를 높이는데 전시 해석매체의 역할이 유의하게 높은 것으로 나타나, 향후 도슨트의 역할이 작품과의 상호작용을 통한 관객의 적극적 참여와 교감을 증진시키는데 중요한 요소임을 제시하고자 하였다.

• 한국콘텐츠학회논문지
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• 제14권2호
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• pp.84-93
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• 2014

본문은 만화의 텍스트가 내용적 의미를 전달한다면 이미지는 어떻게 텍스트와 결합하여 서사적 기능을 하는가에 대한 연구에 목적을 두었다. 이에 한국과 일본의 만화 <형가자진왕>에 나타난 텍스트와 이미지 표현, 만화의 서사방식과 소통 그리고 도상적 표현의 비교분석을 통해 그 서사방식의 특징을 살펴보았다. 만화의 창작 모티브로서 형가의 이미지는 서사의 흐름에서 탈피하여 현재화하고 독자와 공감하는 타자이다. 고우영과 스메라기 나츠키의 만화에서 선, 면, 공간, 음영 등을 통해 가상의 서사적 시공간을 구축하였으며 작가의 상상력이 더해져 불가능한 역사적 현실의 재현과 서사적 의미를 실현하였다. 스메라기 나츠키의 만화는 지속적인 역사적 진실과 추동력에 기초한 섬세한 정물화적인 서사적 표현이며, 객관적 묘사에 집중하면서 역사적 재현을 넘어 감각적인 현실의 이미지를 추구하였다. 하지만 고우영 만화의 도상적 서사는 주관적이고 낭만적인 이미지를 역사적 서사 속에 고착시키고 독자의 기억을 자각시키며 서사의 흐름과 충돌하면서 균형을 유지하려 하였다. 만화의 순간의 이미지는 역사적 현실의 재현이 아니라 고우영 자신이 추구한 서사적 실재의 재구성화된 도상이다.

• 만화애니메이션 연구
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• 통권51호
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• pp.225-254
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• 2018

국내 웹툰산업은 기술의 발전과 플랫폼의 증가, 웹툰의 유료화, 글로벌화등 다양한 내외적 요인에 따라 성장하면서 새로운 산업 환경이 조성되었다. 웹툰의 성장과 함께 등장한 웹툰에이전시는 웹툰기반형성기나 도입기 당시에는 에이전시의 역할이 크게 부각되지 못하였으나 웹툰산업이 확대기에 접어들면서 그 활동이 본격화되기 시작한다. 웹툰산업의 확대기는 스마트폰의 등장으로 시간과 장소에 구애받지 않고 웹툰을 소비할 수 있게 되면서 웹툰산업은 급속히 성장하게 된다. 이후 웹툰IP를 활용한 2차 콘텐츠의 제작이 활발하게 진행되고 웹툰작가의 활동영역이 다양해지면서 전문화된 웹툰에이전시의 필요성이 본격적으로 제기되기 시작하였다. 본 연구는 웹툰산업을 산업수명주기론에 따라 만화산업과도기, 웹툰 기반형성기, 웹툰산업도입기, 확대기, 성장기로 1차 분류하였다. 그 결과 웹툰산업이 산업의 확대기로 접어들면서 웹툰에이전시가 등장하였으며 웹툰산업이 성장기를 거치는 동안 에이전시도 성장하고 있음 알 수 있었다. 이에 웹툰에이전시산업을 웹툰산업과 분리하여 산업수명주기론에 따라 에이전시 도입기, 웹툰에이전시산업 성장기로 분류하였으며 산업의 성장기에 있는 웹툰에이전시가 산업의 쇠퇴기로 가지 않기 위해 필요한 역할은 무엇인지 연구하고자 한다.