• 중국학논총
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• 제65호
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• pp.147-165
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• 2020

With a cultural powerhouse in mind, China is trying to spread Chinese culture around the world by promoting Confucius Institutes. Calligraphy is the core of Chinese culture and is the most efficient field of spreading Chinese culture. The forms of calligraphy dissemination at Confucius Institutes were mainly the opening of calligraphy curriculum, calligraphy experience events, and holding calligraphy contests and exhibitions. But these activities are not very professional or organized. Therefore, Confucius Institutes need to come up with more active and aggressive measures. It will have to train professional calligraphy teachers to be sent abroad and build a deeper educational infrastructure by developing calligraphy teaching materials exclusively for use in the country. They should also explore ways to develop calligraphy into a cultural industry brand in many ways. If the Confucius Institutes actively exchanged and promoted themselves with many countries by calligraphy, Chinese calligraphy could be reborn as an art in the world.

• Human Ecology Research
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• 제52권1호
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• pp.21-31
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• 2014

The purpose of this study was to analyze the types and meanings of calligraphy presented in modern fashion design. Calligraphy refers to beautiful handwriting or fine penmanship in the West, and handwriting with brushstrokes in the East. The expression patterns being used at present can be divided into three categories. Legible calligraphy is focused on readability more than embellishment. Decorative calligraphy places its importance on decoration at the expense of practicality. The third type, harmonious calligraphy, pursues decorativeness and legibility at the same time. Each of these types of calligraphy is expressed in modern fashion with its own purpose: calligraphy for conveying emotional messages, calligraphy as a special brand image, and calligraphy as an expression of formativeness. The first, calligraphy for conveying emotional messages, is used with characters that are familiar to the public. Calligraphy of this type delivers messages confined emotionally to the conscious world, harmonizing calligraphy with words, or expressing readability filled with purity and delight. Second, calligraphy as a special brand image refers to transmitting a distinctive brand image from other companies through employment of a design motive or pattern by expressing the brand logos or names of designers. Third, calligraphy as a expression of formativeness has the function of shaping expressions as motives or patterns, avoiding meanings of words or phrases. It can be represented by the abbreviation or modification of words, or arranging words in different shapes, harmonizing the words with the clothing construction and atmosphere of the other images.

• 복식
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• 제61권8호
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• pp.32-44
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• 2011

This study will explore the application of the Korean alphabet 'Hangul' and its calligraphy on fashion design. Hangul is well known for its great formative characteristics. Its calligraphy has unique features that express the implicative meaning of the Korean language while simultaneously displays beautiful shapes that draw the viewer's eye. When Hangul calligraphy is applied on the pattern design, it can be an excellent opportunity to demonstrate the visual beauty of Hangul. The purpose of this study is to develop the pattern designs that utilize the Hangul calligraphy and apply them in various fields of fashion. The detailed concepts of this study are as follows. First, the theoretical concepts and characteristics of both Hangul calligraphy and pattern design will be understood. Second, the aesthetic characteristics of calligraphy will be drawn by case analysis on the artworks of famous calligraphers such as Kim Jong-geon, Kang Byeong-in, Lee Sang-hyeon, Lee Gyu-bok and other representative calligraphers who design the beauty of Korean calligraphy by handwriting and brush-writing. The obtained results will be used to explore the desirable direction of fashion design. Third, eight pattern motif fashion works that utilize Hangul calligraphy in accordance with the arrangement of different characteristics of fashion design will be presented.

• International Journal of Advanced Culture Technology
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• 제11권2호
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• pp.178-185
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• 2023

The Chinese calligraphy art, which still adheres to tradition, has fallen into the formalism deeper and deeper. The majority of studies on calligraphy still focus on the formal beauty and neglect the core spirit hidden behind the calligraphy art. The calligraphy art is an art defined by words. This definition is not only reflected in the form of the characters but also, and more importantly, in the meaning of the characters. It is not a form of writing, but a writing of lives, wills and feelings, a writing of the experience of daily life, and an improvised poetic writing. With the advent of the age of artificial intelligence, the Chinese traditional calligraphy art, which still adheres to the "supremacy of the brush and ink", has shown a sense of dystopia, and its end is inevitable. Only by truly understanding the core of the calligraphy art, by integrating it with contemporary daily life, and by focusing on the communication of ideas in calligraphy, will it be possible to obtain a new life.

• 헤리티지:역사와 과학
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• 제52권1호
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• pp.148-169
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• 2019

이 논문은 ${\ll}$해동명적(海東名迹)${\gg}$에 실린 필적을 분석하여 조선 초기 서풍의 흐름과 그 성격을 파악하기 위한 것이다. ${\ll}$해동명적${\gg}$은 16세기 초에 신공제(申公濟)가 간행한 서첩으로, 우리나라 역대 명필의 필적을 한데 모아놓은 최초의 집첩(集帖)이다. 필자는 선행연구에서 다양한 이본으로 남아 있는 목판본과 석판본의 간행 배경과 판본을 분석하였다. 이번 연구에서는 ${\ll}$해동명적${\gg}$에 실린 조선 초기 필적의 서풍을 분석하는 데 주력하였다. 크게 두 부류로 나누어 관각(館閣)의 문서를 담당했던 사수(寫手)들의 서풍과 고령신씨(高靈申氏) 집안에 가전(家傳)되어 오던 서풍의 변화상을 파악하고자 하였다. 그 결과 전통적인 왕희지 서풍이 건재한 가운데 원말 복고주의의 영향으로 파생된 다양한 서풍이 수용되었음을 확인하였다. 특히 서역 변방 출신 강리노노(康里??)의 서풍이 폭넓게 수용된 흔적이 주목된다. 이는 으레 조맹부(趙孟?)의 송설체(松雪體)로 대변되었던 여말선초에 실은 다양한 원대의 서풍이 유입되고 있었다는 징표이다. 마지막으로 "패관잡기"에 실린 어숙권(魚叔權)의 기록의 진위 여부를 추론해 보았다. 어숙권은 ${\ll}$해동명적${\gg}$에 실린 박경의 필적이 실은 신자건이 쓴 것이라고 하였다. 그러나 어숙권의 출신과 정치적 입지를 기준으로 신자건과 박경의 관계성을 분석한 결과 어숙권의 주장이 타당치 못하다는 결론에 이르렀다.

• 복식문화연구
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• 제21권5호
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• pp.684-698
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• 2013

Interest and desire for analogue emotion increased with the dazzling development of digital technology. Especially, as analogue emotion got grafted in the design field, analysis through various expression media is being done. This study seeks to propose design of t-shirt using unique advantage of Hangeul calligraphy that can satisfy the modern flow and pattern design's various expressions. Calligraphy is being used in various fields such as advert, package, logo, movie poster, signboard, graphic design, calligraphy and abstract painting. Formative yet effective in readability and conveying meaning as it's expressed in letters, calligraphy is a field of attention with its contribution in extending the new design area. As a method of the study, altogether 8 pieces of t-shirts were proposed through related preceding research, literary research, co-work with calligraphy author, computer graphic program, and heat transfer. As such, the t-shirt designs which were created by suggesting various design and using traditional materials like calligraphy, can be used as novel and sensual factor, where one can get a glimpse at the potential of development as traditional fashion product.

• 대한건축학회논문집:계획계
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• 제36권4호
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• pp.113-121
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• 2020

The Chinese Architect Wangshu, who won the Pritzker Architecture Prize at 2012, is the first and only winner in China. This study focused on the expression of his unique architectural ideas. Especially with a high interest in Chinese traditional calligraphy and landscape painting, Wangshu tried to use its traditional features to form his own architectural way. First this study looked at the features of calligraphy and landscape painting. Second this research studied the expression of Wangshu's architectural practice in calligraphy's way. Lastly this study furthered study of Wangshu's architecture combined with landscape paintings' features. The results state these following. 1) For calligraphy, he used the "modular composition" of Chinese characters to architectural composition, which included architectural form and materials. The "similarities" and "space creation" of calligraphy are respectively applied to architectural spatial details and site planning. 2) For landscape painting, Wangshu borrows its elements to compose his architecture with "gardening consciousness". The "view method" of paintings was used to his architectural pedestrian flows, and Wangshu also based on the "space creation" of landscape painting to do architectural space design with creating the similar atmosphere.

• 한국컴퓨터그래픽스학회논문지
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• 제21권4호
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• pp.1-10
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• 2015

사람들이 감성을 중요시하게 되면서 캘리그라피의 활용이 증가하고 있다. 캘리그라피에서는 획, 점, 삐침뿐 아니라 갈라점과 농담(뽑淡)을 동해 희노애락(편感哀樂) 감은 감성을 표현한다. 하지만 캘리그라피를 다양한 크기의 인쇄물에 사용하기 위하여 디지탤 작엽을 할 때 갈라점과 농담은 소실될 수 있어 이들이 표현하는 감성이 사라질 수 있다. 또한 캘리그라피를 사용한 이미지 편집을 위해 전문가는 스캐너를 동해 얻은 높은 해상도의 이미지로 작엽하지만 일반 사용자들은 스마트 폰으로 촬영한 낫은 해상도의 이미지로 작엽한다. 우리는 일반 사용자가 사용하는 해상도가 낫은 캘리그라피 이미지를 다양한 크기의 인쇄물에 사용 가능하고, 갈라점과 농담이 주는 감성을 유지하기 위하여 캘리그라피에 특화된 래스터 이미지를 확대하는 방법을 제안한다. 우리의 방법은 래스터 기반에서 이미지를 확대할 때 문제가 되는 경계를 재 채색한다. 재 채색을 할 때 이미지 그라디언트(Image-gradient)를 사용하여 엘리어싱을 감소시키고 금자 이미지를 더옥 선명하게 하며, alpha 값을 사용하여 붓의 갈라점과 농담이 주는 감성을 유지한다.

• 한국콘텐츠학회논문지
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• 제16권4호
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• pp.1-11
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• 2016

최근 들어 포스터 디자인, 드라마 타이틀, 책표지 디자인, 패키지 디자인 분야에서 캘리그래피가 많이 사용되고 있다. 이와 같이 캘리그래피가 인기를 끌고 있는 것은 소비자들의 감성을 자극하여 인쇄체 글자로는 전달하기 어려운 친근하고 부드러운 이미지를 효과적으로 전달할 수 있기 때문인 것으로 생각된다. 이에 본 연구에서는 캘리그래피가 소비자들의 광고 디자인 반응에 미치는 효과에 관해 회귀분석을 실시하였다. 분석 결과 캘리그래피는 소비자들의 광고 디자인에 대한 주목성과 호감도를 높여주는 것으로 나타났으며, 특히 감성적인 제품 또는 서비스에서 주목성과 호감도가 더욱 높아지는 것으로 나타났다. 하지만 예상과 달리 저관여 제품 또는 서비스에서 캘리그래피를 사용할 경우 소비자들의 주목성과 호감도가 낮아지는 것으로 나타났다. 이러한 결과는 캘리그래피를 무분별하게 사용할 것이 아니라 소비자들의 주목성과 호감도를 높여줄 수 있는 분야에 따라 선택적으로 활용해야 한다는 것을 시사하고 있다.

• 한국의상디자인학회지
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• 제21권4호
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• pp.153-163
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• 2019

This study is designed to present a direction for the development of an up-cycling design applied with Hangeul calligraphy on outdated clothing materials, and recreating them as eco-friendly high value-added cultural products. The results of this study are as follows. First, Hangeul calligraphy enhances creativity and scarcity by expressing an unformatted analog sensibility in the digital era and further emphasizes the differentiated high value-added aspect of the products. Second, the characteristics of the up-cycling design products represent eco-friendliness, handcrafting, non-fabrication, originality, scarcity, storytelling, and customization. Third, the author made 11 up-cycling cultural products using Hangeul calligraphy, applying it to discarded jeans and pieces of cloth. Fourth, the phases of making cultural products are divided into planning and production. In the planning phase, items and materials are decided upon, design sketches are made, and in the production phase the items go through partial dismantlement, separation, reconstruction, collaboration, and the application of calligraphy printing. Along with the beautiful and lyrical sensibility of Hangul, it was shown that up-cycling using Hangeul calligraphy, which has excellent originality and practicality of design, can be expanded to a variety of cultural products.