• Archives of design research
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• v.20 no.2 s.70
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• pp.65-76
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• 2007

The primary purpose of this study was to evolve integrated design process for Experiential Design which is based on the former study, 'The Influence of Cognitive Factors on the Creative Abilities in Design'. Experience is a transformation factor to all of the design processes, which has three phase of problem solving; Input, Process, and Output. We regard Experiential Design is a transforming process from concept to experience, and set up a mode) of Holistic Design Process (HDP), which consists of four domains: Four Causes, Thinking Modes, Sensory Modalities, and Creative Abilities. Revolving Sensory Modalities (SM), Creative Abilities (CA), and Thinking Modes (TM) around Product Design Specification (PDS) through a design process, Design Concepts ripen and mature into Externalization. Each component of Experiential Design (TM, SM, and CA) turns around the PDS. Here, experience is first perceived by the five senses. Then, the knowledge is formed, and the CA works for a problem solving. And TM controls all of these procedures. We regard these are a phenomenon of Experiential Design. The HDP can be helpful to develop valuable solutions and create a good experience.

• Journal of Engineering Education Research
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• v.13 no.2
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• pp.33-37
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• 2010

This paper deals with the introduction of capstone design project by team activities in Department of Electronics and Communication Engineering, Korea Maritime University. This course is referred to as Creative Engineering Design for spring semester of 4th-year undergraduates. The course focuses on creative thinking and cooperative mind to students by learning engineering design skills, realizing their idea through design project and recognizing practicality of their systems. The intent of the course is to provide a true "capstone" experience, where students can combine their skills to achieve the successful completion of a project. This paper describes class process and evaluation method, and cooperative works with mentees and industrial mentors connected through Hanium network for IT mentoring activities.

• Journal of Fashion Business
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• v.5 no.4
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• pp.14-26
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• 2001

A lot of designers are adopting a mixed imitation as techniques of cretion because cultural boundary and structure of meaning in the era of post-modernism are collapsed and dissolved. I raise up a question mark to how can genuine and creative designers can be identified at this epoch when we are today familiar with the trend of informationalization, opening and globalization. Characterisitics of multi-culturalism and compromising blending are meshed with appearance of a theory of disorganization and consumer-driven economic activity of multi-national enterprises in the age of post capitalism. Accordingly it can be said that designers are leaning upon public and consumeroriented pattern rather than pursuing a creative cultural production. With mass media in rapid advancement and public culture in father dissemination, mass production and mass re-production became a natural cultural phenomenon strengthen ing its root. Creative designers somewhat slow and limitative in pace of adaption to rapid changing society amid such social backgrounds and flooded information are coming to dead-end of wall. A mixed imitation as techniques of creation is a result of borrowing, duplicating or re-combining of existing things because the mixed imitation is equivalent to borrowing, copying, compilation and recombination of well-known artworks, motive, diverse people's cultural features, image, techniques and the likes. It is too delicate thing for one to definitely distinguish such cultural phenomenon from either one as creative work or a plagiarized work. Looking into the facts as they are, we should recognize the designers limitation in their creative works by means of the mixed imitation. thus we can have a view upon them from a criticizing standpoint against the designers creation and imitation. On the other hand, when we look at things how the mixed imitation appears in the fashion as a piece of culture, we can understand something of the contemporary designers. I try to find a significance in seeking out a method of approaching to creative fashion designers direction in future times.

• Journal of the Korean Institute of Educational Facilities
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• v.18 no.5
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• pp.61-71
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• 2011

The purpose of this paper is to analyze university students' types of spatial consumptive decision behavior in order to provide a guideline on development of creative squares on campus. In particular, it is investigated how student's general characteristics, such as gender, age and major, awareness of creative squares, and preferred spatial types have influence on types of spatial decision consumptive behavior. In addition, correlations among the factors and types are analyzed. As a specific method for gathering information, a questionnaire composed of 46 questions was drawn up to conduct a survey of 206 students of S University in Seoul. The collected data from the survey were analyzed using SPSS windows v17.0. Based on a few previous works, the spatial consumptive decision behavior is classified into four types with Crombach ${\alpha}=0.794$ : 'Exploration' type, 'Experience' type, 'Showing-off type, and 'Trend-Following' type. The main results of this paper can be summarized as follows. First, all factors that affect spatial consumptive decision behavior are more or less correlated with one another. Second, awareness of creative square is significantly different according to the age and major of students. Third, in general, the 'Exploration' type embraces the largest number of students, followed by 'Experience' type, 'Showing-off type, and 'Trend-Following' type. Fourth, the portion of students belonging to each type is a little different according to the major of students. Finally, each type of spatial consumptive decision behavior is highly correlated with the gender and preferred spatial types of students. It was also found that all types of students prefer three to five specific spatial types. Accordingly, the identified spatial types can be exploited in developing a creative square in campus. The results of this paper are expected to expedite follow-up research on creative squares on campus under various conditions.

• Proceedings of the Korean Printing Society Conference
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• 1995.11a
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• pp.22-22
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• 1995

• International journal of advanced smart convergence
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• v.12 no.2
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• pp.84-89
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• 2023

In recent years, with the breakthrough of Artificial Intelligence (AI) technology in deep learning algorithms such as Generative Adversarial Networks (GANs) and Variational Autoencoders (VAE), AI generation technology has rapidly expanded in various sub-sectors in the art field. 2022 as the explosive year of AI-generated art, especially in the creation of AI-generated art creative design, many excellent works have been born, which has improved the work efficiency of art design. This study analyzed the application design characteristics of AI generation technology in two sub fields of artistic creative design of AI painting and AI animation production , and compares the differences between traditional painting and AI painting in the field of painting. Through the research of this paper, the advantages and problems in the process of AI creative design are summarized. Although AI art designs are affected by technical limitations, there are still flaws in artworks and practical problems such as copyright and income, but it provides a strong technical guarantee in the expansion of subdivisions of artistic innovation and technology integration, and has extremely high research value.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.1
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• pp.113-119
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• 2023

This research analyzed the importance and influence of color expression on psychological and emotional changes of visual perception in the creation of art works. This research takes the element of the sky in the works of Vincent William Van Gogh, a Dutch post-Impressionist representative painter, as the basic research objective to prove the influence of color expression of the same thing on the inner emotional communication of the creator. After synthesizing the contents of previous research and investigation on Van Gogh, this research will summarize the works containing sky elements in Van Gogh's works according to his four creative stages, and select representative works for color analysis and comparison. In this paper, by comparing the colors of the same elements of the sky, we can find Van Gogh's guidance of psychological and emotional changes through the expression of colors in his works, which will play a certain inspiring role in the creation of painting art.

• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.80-100
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• 2011

The purpose of this research is to classify that fashion and art in the twentieth century broadened the creative field by individually applying each other's ideas or through collaboration. This paper analyses the work of individual artists and fashion designers who created work on the boundaries of fashion and art. These samples are selected to extract features related to specific periods as it is proposed that contemporary creation has been developed from a combination of fashion and art, sharing their distinct concerns. Accordingly, this research will focus on the collaboration between fashion and art in the twentieth century from the aspect of 'fashion into art'/'art into fashion' in order to analyse the historical flow, and thereby examine the relationship between fashion and art. The cross-fertilization between fashion and art was initiated as an imitation of form in the early twentieth century, and led to a 'new cross-disciplinary form' which exists on the boundary of fashion and art. This paper considers the relationship between fashion and art from the perspective of sharing intrinsic concepts and the creation of a new creative sphere. It analyses the characteristics of the works of fashion designers and artists whose works lie on the boundary between fashion and art.

• Journal of Fashion Business
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• v.22 no.1
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• pp.20-40
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• 2018

The purpose of this study is to examine the concept of surrealism and its expression technique and to develop creative and artistic women's coat design based on the analysis of various expression techniques of surrealistic artists and designers. To this end, literature review was done and design and actual works of women's coats were made. Surrealism was applied to fashion by Schiaparelli in the 1930s and it has constantly been applied by many fashion designers. The examples used in fashion were examined by shape of body parts or natural objects, metaphor and transformation of objects, position change and optical illusion. Based on this examination, motifs were drawn from paintings of Rene Magritte, Salvador Dali, Vladimir Kush, and Rafal Olbinski, who most inspired contemporary fashion designers with their works. The creative and artistic sense of five women's coats for 20's and 30's were designed using surrealistic paintings and fashion design expression techniques in a view of social problems. This study has a significance in that it expanded the expression techniques of fashion design and its field with original design which is inspired by surrealistic formativeness and expression technique with social criticism. It is also possible for this study to contribute to the development of fashion design if various designs are presented through grafting various artistic expression techniques onto fashion.

• The Research Journal of the Costume Culture
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• v.29 no.1
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• pp.65-86
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• 2021

This study aims to develop a hanbok design method in response to recent changes in consumption trends that emphasize new aesthetic and cultural values, which contrast with the existing cultural order and repetitive normative styles in fashion designing. With this in mind, our study explores the main features of deconstruction fashion design as a theoretical guide for developing a methodology for deconstruction hanbok design, on the basis of which new, experimental and creative hanbok design works can be produced. To do this, we first investigate current trends in hanbok design and changing concepts of Korean fashion design through literature review of previous studies. Secondly, we explore deconstructionism and analyze its features to lay down the foundation for a post-modern approach in hanbok design. As the result of analysis, the main features of deconstruction fashion design are summarized as the following: 1) non-finishing, 2) decomposing and recomposing, 3) recycling, 4) transparent, 5) grunge, 6) flattening, and 7) exaggeration. Based on the identified core features of deconstruction fashion design, we develop a creative method of hanbok design in the context of modern Korean fashion design. Finally, we show five design outputs via a 3D digital fashion design process using the CLO3D software program.