• 한국콘텐츠학회논문지
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• 제12권9호
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• pp.40-47
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• 2012

미디어 아트는 새로운 경로의 인식과 지각을 동반하고, 기존의 미술과는 다른 인간의 신체를 도구화 하여 상호작용을 만들어내는 새로운 감상방식을 제안한다. 시각적인 영상을 제작하는 방식 중 포인트 클라우드는 점으로 형태를 표현한다는 점에 있어 서양미술의 점묘법과 유사하며 이는 전통회화 기법을 디지털 기술을 활용해 재구성한다는 의미를 가진다. 본 논문에서는 미학적 요소와 디지털 기술을 융합한 새로운 감상방식으로 포인트 클라우드 형태의 영상을 제작하여 홀로그램 필름에 투사하고, 관람자의 손짓이 영상과 상호작용하는 콘텐츠를 제시한다. 콘텐츠 제작은 콘텐츠 제작 배경 의도를 기획하고 포인트 클라우드 형태의 이미지 제작, 상호작용을 위한 3D 제스처 디자인 과정을 거쳐 최종적으로 홀로그램 필름에 투사하는 과정을 거친다. 콘텐츠는 사람의 의식 속에서 일어나는 기억의 회상 과정을 시각적, 체감적으로 표현한다. 이를 위해 기억의 회상 과정을 불확실한 기억, 기억의 구체화, 완전한 회상으로 설정하였다. 불확실한 기억은 포인트 클라우드 형태의 이미지를 통해 모호한 형태의 이미지로 표현되고, 상호작용으로 이미지를 조작하는 행위를 통해 기억을 구체화 해 나가면서 완전한 회상을 하게 된다.

• 한국생활과학회지
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• 제17권5호
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• pp.989-999
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• 2008

The purpose of this study was to supply the basic data for the plan of the storage space in the kitchen by investigating the actual condition of the use and residents' satisfaction. The questionnaires were distributed to 136 families of the local apartment in South Chung-Cheong Province of Korea. The results were summarized as follows; first, among the furniture for storage, the upper and lower space have been installed in every furniture. The general tablewares were stored in the upper part of the kitchen and the frequently used goods for cooking were largely stored in the lower part. Second, in the method of reforming the kitchen space, it showed highest figure in case of purchasing the shelf and there were many cases of storing things by using the subsidiary storage furniture and boxes and it came to the conclusion that the housewives have a tendency to solve the storage problem by using the less expensive, simple and passive ways. Third, in the degree of satisfaction for the space for storage, it showed that the respondents were a little bit dissatisfied with the size of storage space, the position of furniture for storage, the convenience for using and the storage rapacity. Among the furniture for storage in the kitchen, the degree of satisfaction for the upper and lower parts was a little bit low, but it is higher for the others. For the plan of storage space, the aesthetic appreciation reflects visually being in order was considered to be the important factor.

• 한국의상디자인학회지
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• 제14권4호
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• pp.113-125
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• 2012

This study, as one on the neck design of seamless knitwears, set out to make experimental clothes applying various knitting methods to the hem of round neck, seek the knitting methods of finishing touches on the ending part of round neck to enhance function and aesthetic appreciation through measuring tensile strength and assessing wearing sensation, and provide basic data that would be of practical help to developing the design of seamless knitwears and mass production in the national knit industry. The ending part of neck of the seamless knitwear is not only the last stage in making knitwear but also affects the function and appearance of the clothes. The investigator, thus made six different pieces of experimental clothes according to the finishing methods of knitting on the neck, then measured tensile strength and put them to the test by a group of experts for the assessment of wearing sensation. The results were analyzed based on variance analysis(ANOVA), and the items with similar results were put to the Duncan test for intergroup comparison. According to the analysis results of measuring tensile strength, Experimental Clothes B received the highest evaluation, Experimental Clothes E the lowest. Also Experimental Clothes B was ranked the highest in almost every evaluation criteria, whereas Experimental Clothes E was ranked the lowest in the assessment of wearing sensation.

• 한국콘텐츠학회논문지
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• 제13권9호
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• pp.102-110
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• 2013

오늘날 기업에게 기술력과 디자인은 무한경쟁시대에서 요구되는 전제조건으로 인식되고 있다. 대부분의 기업 특히 도자기기업에서는 실용적이거나 또는 제품의 미적인 부분을 개별적으로 다루고 있는 것이 사실이다. 이에 따라 기업의 아이덴티티를 형성하기에 어려움을 겪게 된다. 그러나 독일의 로젠탈사의 경우 이미 1900년대 중반부터 디자인과 더불어 독창적인 프로세스를 통하여 기업의 아이덴티티를 확립하였으며, 독창적인 디자인 매니지먼트를 통해 제품을 생산하는 기업으로 평가되고 있다. 특히 로젠탈의 아이덴티티는 디자인 결과물이 아니라 개발 프로세스를 검증하는 "Jury System"과 독립브랜드 마케팅 그리고 순수 예술가들과의 콜라보내이션과 같은 실험정신에 의해 더욱 독창적으로 형성되고 있다. 특히 디자인 개발에 예술가들이 참여함으로써 이 기업의 도자기 제품은 단순히 생활도자 제품만이 아니라 감상과 수집을 위한 명품으로 평가되고 있다. 또한 로젠탈은 기업 아이덴티티가 단순히 제품에 의해 생성되는 것이 아니라, 디자인 경영기술을 통한 기업 내 외적 요인에 의해 완성될 수 있음을 보여주고 있다.

• 조형예술학연구
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• 제10권
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• 복식문화연구
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• 제20권6호
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• pp.895-911
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• 2012

The purpose of this study was to examine consumers' perceptions of eco-friendly children's-wear and their impact on the selection criteria for children's-wear and stores. A descriptive survey method using a self-administered questionnaire was employed. The sample consisted of mothers with children under the age of 13 residing in Seoul and the Gyeonggi area. Data were collected from September 2011 to October, 2011. The collected data were analyzed to find the differences between purchasers and non-purchasers of eco-friendly children's-wear in terms of their perceptions of eco-friendly children's-wear, as well as the influence of these perceptions on the consideration degree of criteria for the selection of children's wear and store. The results indicate that perceptions of eco-friendly children's-wear implied five key factors related to quality reliability, expected value, style, degree of recognition, and dissatisfaction with design and price. The results also revealed some differences between the group purchasing eco-friendly children's-wear and the group not purchasing eco-friendly children's-wear. These different perceptions were related to the aspects of quality reliability, expected value, style, degree of recognition. In general, the non-purchasing group displayed a lower mean score than the purchasing group. Both groups showed a low interest in aesthetic appreciation and the degree of recognition factor. The results showed that consumer's perceptions of eco-friendly children's-wear had an influence on the criteria for the selection of children's-wear and store type in both groups. Considering the findings of the study, it is clear that both purchasers and non-purchasers of eco-friendly children's-wear showed differences in their perceptions and purchasing behavior. Therefore, marketing strategies to appeal to the non-purchasing group should be differentiated from strategies used to ensure the loyalty of the purchasing group.

• 고문화
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• 69호
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• pp.91-111
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• 2007

본 논문은 청화백자에서 산수문이 가장 성행했던 조선후기를 중심으로 분원의 시대적 상황과 그곳에서 시문제작에 직접 참여했을 것으로 보이는 화원과 화청장의 역할에 주목하였고, 현존 백자의 청화 산수문 주제를 분류하여 당시 문화.사상적인 배경에 초점에 두고 검토하였다. 또한 백자의 청화산수문양에 나타난 양식적 변화를 당시를 풍미했던 산수화풍 및 화보 도상과 비교하여 그 전개와 제변화 양상을 정리하였다. 조선후기 백자의 청화 산수문 중 대표적 주제는 동정추월문으로 이는 당시 화단을 풍미한 진경산수나 풍속화 등 현실적 소재와는 거리가 있으며, 국왕과 종실 등 분원의 정책을 운영하던 핵심 세력 및 백자 향유층의 사상.문화적인 경향을 잘 시사한다. 또한 청화백자의 기면에 동정추월문과 대칭하여 나타난 소재는 조선 유학자들의 이상적인 삶을 묘사한 처사들의 은일고사의 전통을 반영한 것으로 그 도상적 특징은 조선 중기의 소경산수인물도와 당시 유행하던 중국화보의 영향이 간취된다. 이들 산수문양은 호형 도자 문양을 구획 짓는 릉화창에 시문되거나 편병, 각병 등에 묘사되어 기면의 특성에 맞게 포치를 변화시켜 나타난다. 회화적인 요소가 강한 산수문은 18세기 말부터 19세기에 이르러서는 점차 도식적으로 변모하거나 약리도와 길상도, 십장생과 같은 민화적 요소와 함께 시문되면서 점차 백자의 중심 문양에서 저변으로 밀려나 퇴조하는 경향을 보인다. 본고에서는 청화 산수문양이 시문된 백자의 편년작이 극히 드문 한계에도 불구하고 현존하는 백자에 그려진 청화산수문 전개 양상의 일단이라도 정리하여 앞으로 이 분야 연구에 다양한 접근 계기를 마련하고자 하였다.

• 한국조경학회지
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• 제40권2호
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• pp.38-48
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• 2012

20세기 후반부터 현재까지 지속가능성(sustainability)은 현재 인류의 생존과 웰빙에 관련된 가장 큰 화두일 것이다. 이에 대한 대응으로 조경을 포함한 환경설계 분야에서도 이 개념을 실천적으로 구현하기 위해 계속해서 다양한 시도가 이뤄지고 있다. 본 연구는 이렇게 급변하는 도시경관의 변화와 조경설계의 방법과 태도의 전환이 요구되는 시대에 "지속가능성"의 개념을 추구하기 위한 대안적인 설계이론으로 생태미학이라는 분야를 소개하고 재정의하고자 하였다. 본문에서는 생태미학의 필요성을 설명하기 위해서 조경설계에 있어서 미학의 역할과 지속가능한 경관과 미학의 관계에 대한 이론적 고찰을 하였다. 그리고 광범위한 문헌조사와 분석을 통해 생태미학의 특징을 정의하였는 데, 첫 번째는 경관체험에 있어서 인지적 과정을 강조, 두 번째는 환경주의자적인 가치관, 세 번째는 기존의 스타일로부터 해방, 네 번째로 설계에 있어서 규범적인 성격이 분석되었다. 이렇게 규명된 생태미학의 특징을 바탕으로 조경설계에 반영해야 하는 생태미학적 설계주제를 요약 및 논증하였다. 주 설계 개념인 "실제로 느낄 수 있는 자연"을 바탕으로 설계가 표현해야 할 다섯 가지 주제는 생태적 기능, 경관의 일시성, 역사성, 안전성, 접근성 등이며, 이와 못지않게 중요한 설계의 과제는 위 주제들을 예술적이며 친근하게 표현해야 하는 설계(가)의 창의성이라고 판단되며 차후 연구에서 심도 깊게 다뤄질 필요가 있다고 본다.

• 패션비즈니스
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• 제12권5호
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• pp.1-13
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• 2008

This study is largely aimed at presenting ways to improve the working clothes and help companies create more positive images by suggesting designs of the clothes, which take into accounts the corporate image, symbolism, function and aesthetic appreciation through introduction of companies' CIP. And, it is significant to propose working clothes development condition and process with introduction of companies' CIP(Corporate Identity Program : work that systematize and simplify visually images which companies or public bodies have) A way of this study was made up with working clothes design development process which a student planned. First of all, this study looked into Company D's Corporate Identity Program(CIP) to develop the design that corresponds with the characteristics of the company's favorite design, working environment and demands of the employees. And, then, the study conducted a survey of 30 employees and intensive interviews with heads of four teams including the Safety Team, the Working Clothes Management Team and the General Affairs Team to find out the requirements of the clothes and the characteristics of the company. Based on them, the concrete image that the company pursues and the direction of design were set up through image positioning. In the end, three different concept designs were presented through image-mapping and the concrete design of each item was developed. A total of seven items including upper and lower garments (a jacket and trousers) for the spring-summer seasons, upper and lower garments (a jumper and trousers) for the winter season, cold-protecting vest and winter clothes (a coat and trousers) were presented in accordance with the three concepts. One of the concept designs, which was selected through evaluation by employees of Company D, was produced as a sample and then the final design was chosen after a discussion attended by the head of each team and representatives of the employees. Based on the aforementioned design planning, one design was selected from each of the three concept designs for production. And each of these was requested to special production enterprise and manufactured. Following the result of study, by looking into a case of a practical joint design project between a university and a company, this study suggested ideas for business to improve working clothes through the academic-industrial cooperation and presented conditions and process of design development. And, this study also aims to examine the feasibility of academic-industrial cooperation based on the cases in which enterprises and universities staged joint projects to develop working clothes.

• 한국콘텐츠학회논문지
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• 제21권9호
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• pp.88-104
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• 2021

포스트모던의 영향을 받은 해체적 그래픽디자인의 시각 표현은 명확한 이미지와 텍스트로 구성된 전통적 형식의 그래픽디자인 표현법과 달리 도전적이고 실험적이었다. 이런 해체적 그래픽디자인의 시각 특징들은 작품을 감상하는 데 있어 미적 경험의 주체로서 독자의 중요성을 강조했다. 본 연구는 수용자 즉 독자 중심적인 문학 연구 이론인 수용미학(Aesthetics of Reception)을 중심이론으로 상정하여 해체적 그래픽디자인의 실험성으로 인해 나타나는 특징들에 대한 이념적 틀을 새롭게 형성하고자 한다. 해체적 그래픽디자인의 작품 해석을 위해 볼프강 이저의 수용미학의 특징들을 도출하고 이론의 범주로 대입하여 해석이 어떻게 확장되는지 분석하였다. 그 결과 수용미학은 작가와 독자 간의 상호 작용에 관심을 둔 문학 연구 이론이지만, 포스트모던의 영향을 받은 해체적 그래픽디자인에 대한 새로운 작품 분석 방법론으로써 이론적 토대를 마련, 작품 해석의 지평을 넓혔다. 또한 현대 그래픽디자인을 감상하는 능동적이고 창의적인 역할이 강조되는 독자에 대한 상호 콘텐츠 연구의 새로운 방향성을 제시하였다.