• Archives of design research
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• v.3 no.1
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• pp.71-81
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• 1990

Style have been changing by the situations and the background of contemporary politics, society and economics, and which influence significantly to create new forms. Since the style of ART DECOC 1929s -1930s) has been studied with main reference to its cause and motivation, it is known that the style of ART DECO is one that has given $$\mu$h potential and chance to the development of interior design.In the study, it was focussed on to study on interior design, architecture, funiture, etc. in America where ART DECO had been once successful in his career. The following are the contents of the study implying the establishment of directions concerning styles in accordance with the transitional process of the era, etc.; i.e., the purpose of the study, the range + period of the study, contemporary backgrounds, elements of ART DECO' style, ART DECO in AmericaCthe background of ART DECO s subject, etc.).The writer of this study, while referring to the study and groping for any help to finding a brilliant concept of design and the merit of the trend of a contemporary era, hope to contribute more my own interior design.

• Journal of Fashion Business
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• v.8 no.3
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• pp.20-33
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• 2004

The creative energy of the Korean women who pursued spiritual artistic practices under the limited situation of male-dominated confucian society in the Chosun Dynasty(AD 1392 - AD 1910) constituted the background for the development of Gubang Craft. Gubang Craft represented their artistic abilities, moral and family values, and the pursuit of self-esteem. Especially embroidery successfully showed four main elements of Gubang Craft such as embellishment, diversity, femininity, and craftsmanship. This paper is designed to explore how the traditional elements of embroidery works are restored and have influence on the modern Korean fiber art.

• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.84-92
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• 2008

In the Relationship between exhibition space and art work in museum, new paradigm has being presented from 1990' s as a turning point. Even if the formal exhibition space that emphasizes itself as a background has currently being continued, the informal exhibition space is coming to the new art museums, especially after 1990's. This study is to understand how the advent of informal form of space in an exhibition of art museum makes a new paradigm in the relation between the exhibition space and art work in conjunction with public's perception after 1990' s that is identified to the time of Pluralism. To do this, the study raised a question on how the public perceive the relation between space and art work through photographs that contain the information on relation between space and art work. And the questionnaire performed through the curators who are working for art museum, students who studies fine art, students who studies design and public who comes to art museum. After survey through this questionnaire, it is made clear that the informal form of space simply has played a role of background since the beginning of art museum. In other hands, the informal form of space that is mainly presented after 1990' s begins to interrupt the public's perception of art work, changing it's meaning through a spatiality.

• Journal of the Korea Furniture Society
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• v.24 no.4
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• pp.350-364
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• 2013

Based on the background of the times and theoretical background that influenced the formation of the works of Charles Rennie Mackintosh, one of representative architects of Art Nouveau, this study examined the formative characteristics of furniture design by period. In addition, his influences on the modern furniture design were also reviewed. In the latter half of the 19th century, due to Arts and Crafts Movement, the popularity of Art Nouveau was not high in England and due to conservative and traditional culture, Mackintosh had difficult time to display his ability in England. On the other hand, because Glasgow, one of industrial cities located in the center of Scotland where he had grown was an open and modern city, Mackintosh could win international fame in architecture and furniture design thanks to the atmosphere. Furthermore, it is found from the formative characteristics of his works that Historicism, Arts and Crafts Movement and Japanese culture and the influences of Continent became his theoretical background. His works creatively combined the noble design of Scotland and Art Nouveau to be considered a simple and pure style with a straight tendency and his working period can be divided into Beginning, Middle and Last Period according to the formative characteristics of furniture design. His constituting principle that decorated the structure influenced the Wien Secession's activities to form Wiener Werkstaette and this finally became the important background to develop to 'Modernism Design' through Art Deco and Bauhaus.

• Journal of Korea Game Society
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• v.18 no.6
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• pp.49-58
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• 2018

This study analyzes semiotic aspects of game concept art which is developed considering individual 's color experience. The six stages of Frank H. Mahnke's color pyramid are roughly classified into three categories, and how the game concept art meets each stage. Using the Roland Barthes's mythological-symbolic model of meaning, The meaning of righteousness and the characteristics of newly derived symbols. The results showed that colors could make the background stage more recognizable or intended to have a particular impression. In this way, game concept art, in which what is intended to be implemented in game development, can identify various functions and possibilities of game concept art, such as presenting game convenience as well as impression through a combination of various colors.

• Journal of architectural history
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• v.3 no.1
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• pp.143-159
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• 1994

Ornament in late nineteenth century Art Nouveau movement, especially abstract ornament in Viennese Art Nouveau, has a very complex aesthetical background. Ornament, for them was not just decorations in outer appearance, but a determinant element of formal languages. Abstract ornament in Viennese Art Nouveau has its theoretical and aesthetical bases in the Interpretation of nature, that is, the theory of the abstract ornament was founded on a new interpretation of nature, which, in its turn, was derived from the differentiational selection of the contemporary views of nature. The modernity of abstract ornament consists in the very fact that it was founded on a new interpretation of nature. This study alms at reviewing how the new interpretation of nature by abstract ornament criticized, rejected and accepted the contemporary views of nature. The overall tendency of this study is to synthesize and analyze the historical background of Viennes Art-Nouveau in regard to aesthetic theories of nature. The analysis method of this study is interpretation of written documents which are related to the issue.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2008.05a
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• pp.74-77
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• 2008

In the relationship between exhibition space and art work in art museum, the Pluralism on the late of the 20th century made the new form of exhibition space to be appeared on the stage. Even if formal exhibition space that emphasized itself as a non-spatial background is currently being continued, the informal form of exhibition space is coming to the new art museums, especially after 1990's. This study is to understand how the advent of new designed the informal form of exhibition space in the Glytothek museum(the formal form of exhibition space) design a new paradigm In the relation between the exhibition space and art work in conjunction with public's perception. To do this, it is made clear that the Glytothek museum(the formal form of exhibition space) simply has played a role of non-spatial background. In other hands, the new designed informal form of exhibition space that is mainly presented after 1990's begins to Interrupt the public's perception of art work, changing it's meaning through a spatiality.

• Journal of Fashion Business
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• v.14 no.1
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• pp.163-175
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• 2010

This study is a part of the integrated investigation of the design of Yves Saint Laurent, and aims at examining the background of the appearance of art inspiration which the artistic quality and originality are particularly seen. And also, I would like to examine the source of the power that transcends periods, dealing with issues in the design. From the mid 1960 to 1970, Yves Saint Laurent who leaded the global fashion trend, displayed the Art Inspiration works with the innovation of fashion in Paris, rediscovery of the trends and colors in Modern Art, and background of Entourage and so forth. He brought in the various artistic genres to the fashion, and his Haute Couture collections which were created by the passion for the movie and theater art, expressed the freedom through his strong identity in the Modern Art & Culture and the atmosphere of that period. Eventually his works are reappeared transcending the generations as the fundamental power of Modernity, through the restricted line of his own, strong contrast of colors, and insight for the future.

• The Research Journal of the Costume Culture
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• v.30 no.1
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• pp.145-160
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• 2022

This study analyzes the influence of the social and cultural background of Art Nouveau on the costumes, architecture, and crafts in the period drama 'Crimson Peak'. This research method captures images of women's costumes, architecture, and crafts in the 'Crimson Peak' and selects and analyzes those with a clear Art Nouveau influence. Edith's costumes are characterized by the Art Nouveau style that emerged in the 1890s, with an hourglass silhouette, pastel colors, soft materials, and organic curved embellishments. Lucille's costumes show characteristics that were prevalent before the 1890s, using bustles, strong colors, and elaborate ornamentation. The architecture is characterized by gothic vertical lines and organic curves, naturalistic patterns featuring animals and plants, and steel and glass materials. The crafts of 'Crimson Peak' are characterized by flexible shapes with strong, organic curves. These costumes, architecture, and crafts share formal elements including waving, twisting, and organic curves and plant-shaped motifs. The influence of social and cultural background of the age of Art Nouveau expressed in movies on formative arts was examined as impressionism appeared in costumes made of pastel colors, thin and see-through materials, medieval Gothic historicism expressed in structures composed of vertical design and religious relief ornament, exoticism appeared in Chinese vase and Japanese-patterned tea sets, naturalism with an animal·plant motif and phenomenon of active social activities of progressive women through women's clothing that elements of men's costume are introduced. This study will provide data for the production of period dramas set at the end of the 19th century.

• Journal of the Korea Convergence Society
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• v.7 no.3
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• pp.35-44
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• 2016

The purpose of this study is to examine the theoretical background of art make-up and surrealism in depth and shed new light on creative thoughts coming through application of Depaysement and various kinds of expression realized through art make-up, where art and make-up are incorporated. The study method is to conduct prior research followed by a theoretical study of the concept and techniques of Surrealistic Depaysement and theoretical background of art make-up through specialized books and internet sources and then to create 4 artworks representing characteristics of Depaysement technique categorized in dual image, fusion of heterogeneous objects, modification and conversion, and change of space. This examination resulted in first, a foundational ground for fusion and use of art and make-up sectors by creating a realm of expression based on creativity through incorporation of art and makeup and second, a sense of freshness and unfamiliar-ness by creation of an image in a completely unfamiliar space. Therefore, the researcher sets a direction for ways to come up with new ideas and expand the realm of expression and hopes that the art-makeup does not just become an aesthetic tool but turn itself as an art genre.