• International Journal of Contents
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• v.17 no.1
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• pp.27-36
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• 2021

Information design is a new scientific subject, which was named in the 20th century. The design methods of information design and the display of information are continually evolving with the change in the world. While sorting out the background and concept of information design, this article aims to identify the issues of information design. One issue is that environmental information design is a vague concept. Thus, leading to this type of information design is without any comprehensive analysis. Second, the impact of culture has not received adequate attention. This article is based on the Japanese Wabi-sabi culture. It analyzes the impact of culture on information design. The article deeply explores the role of Wabi-sabi in information design through case studies, and it reflects the characteristics of design products by culture.

• Journal of the Korea Furniture Society
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• v.18 no.3
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• pp.224-233
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• 2007

What is culture-products? Culture-products contains identity of nation and region. French critic Guy Sorman says "It is natural that buying culture-products when you travel any countries" Culture-products which contains our own cultural factors will give positive image of country. The research and development of grafting grudge experience culture-products was advanced the characteristic of area-culture that necessary is prerequisite. We need to develop culture-products which mixed regional culture and characteristic. We would like to research about Baekje culture and culture-products and sales products in museum. Museum is one of the tourist's attractions and great place to express regional factors. The culture-products are specially limited in the products which reflects a Baekje culture with Muryeong's tomb in Gong-ju and Baekje incense burner in Bu-Yeo it advanced. We hope that this research could help to understand market of culture-products and development.

• International Journal of Contents
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• v.1 no.1
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• pp.10-15
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• 2005

As the computer becomes a trend, interactive multimedia design can be one media to communicate the cultural knowledge. A folktale can be a powerful material to show a country's culture. In this project, we try to make the folktale content to be understood easily by implementing some cultural information background. The main aim of this project is to give a vision of the richness culture through the interactive multimedia technology. In this paper, we would like to show a flow map content, a streaming of design process and a visual interface design prototype. Finally, interactive multimedia design content is very useful for a transferring the richness culture because people tend to like a multimedia content. In order to make an effective interactive multimedia design content based on a cultural background, a designer should need to understand about users, culture, technology and the whole design process.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.3
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• pp.139-145
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• 2024

In modern society, many adults seek emotional solace by reconnecting with their childhood memories through "kidult" culture, especially as single-person households increase. This trend spans fashion, collectibles, movies, animations, games, and character merchandise, with Hollywood playing a significant role in its growth during the 1980s and 1990s. Kidult culture allows adults to relieve stress, foster creativity, and strengthen social connections, enhancing their quality of life. As this culture gains mainstream acceptance, companies are producing diverse products featuring beloved characters, appealing to a wide age range. The rise in single-person households has amplified the importance of personal expression and individuality, driving the popularity of kidult culture. Companies are leveraging this trend to create innovative designs that resonate with consumer preferences. This cultural expansion promotes new design forms and aesthetics, reflecting the evolving relationship between design and consumption. Kidult culture's growth underscores its significance in contemporary consumer and design culture, offering valuable insights into modern societal trends.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.117-126
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• 2013

Since 1993, Korea Institute of Design Promotion has carried out Design Promotion Comprehensive Plan every 4 years and due to the institutes founding purpose the plans are mainly focused on enhancing quality of merchandise goods. However due to social and economic changes now enhancing quality of cultural living through design is becoming important as ever. The purpose of this paper is to find our characteristics and changes in design policies and programs to diffuse design culture in the plans. The researchers have inquired proceeding studies on cultural and design policies and also looked into cases that were carried out in Europe to diffuse design culture. By analyzing EU's Cultural Policies four means were found: Education, Exchange, Participation, and Sharing. The results are as follows. First, in the beginning main focus was to educate people about the importance of design and what good design is, in bureaucratic ways. In the Secondary plan, reaching out to local regions begin to show in order to diffuse design culture that was and still is mainly centered around Seoul. Thirdly plan shows more exchanges but not only limited to domestic regions but international wide. In the Forth plan, participation programs and those engaging design to solve social problems are shown but still not much attention is payed to sharing.

• Smart Media Journal
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• v.4 no.4
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• pp.101-110
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• 2015

Every nation and every people has its own tradition and culture that have uniquely developed throughout history. In due course, such tradition and culture form a design DNA serving as the fountainhead of various creative activities. This paper is basically a general investigation on the traditional cultural legacy focused on the unique design DNA characteristic of the Korean culture. In particular, presenting the examples of innovation and creativity in the Korean traditional design, it attempts to analyze them from the perspective of following criteria: efficiency, purposefulness, aesthetics, and simplicity. The analysis confirms the fact that design is one of the important culture content resulted from its interaction with history and culture, which includes the influences of neighboring countries and cultures.

• Science of Emotion and Sensibility
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• v.7 no.1
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• pp.83-95
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• 2004

Market globalization rapidly has changed market environment. So, in this study, we suggest global design process for many global companies which try to get global competitive advantages over through design. We create a new frame of study for global design as examining the circulative causal sequence structure of global consumer culture, global design, and global segment consumers in the meaning structure of global consumer culture and movement. And, with the new frame of study, the purpose of this study is to propose global consumer culture-based global design process for preference design. For the purpose, we reviewed global segmentation market, global consumer, global consumer culture and global design. And to search the circulative causal sequence structure, we applied to the theory of cultural movement structure by McCraken to constitute the frame of this study. For the empirical research, we focused on global teens consumer culture as the second data. Finally, we suggested global consumer culture-based global design strategy and discussed our future study.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.131-149
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• 2014

Tibetans are one of the ethnic Chinese minorities, and this research examined the characteristics and features of their traditional costumes by investigating their historical, geographical and cultural background. This research also examined the cultural elements according to their characteristics based on Tibet's nature, religion, arts culture such as the Jang-po, Chin-sam, Kam-kjun and belts, which are used to fix the costumes. Based on such studies the traditional Tibetan costumes were set as a motif and were expressed appropriately into a contemporary style. By studying the composition of its costumes and its costume culture, the characteristics of the Tibetan costumes could be classified into four features. First, the 'variability of form' expresses a new type depending on how it is worn. Second, the 'color contrast' shows a strong visual contrast. Third, the 'difference of materials' combines different materials into one. Fourth, the 'symbolic meaning' grants meaning to the wearer. As a result of this study, by using the characteristics of the Tibetan nature culture, religion culture and art culture as a basis, two suits of clothes for each characteristics and six suits of clothes were produced as a fashion design product.

• The Research Journal of the Costume Culture
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• v.9 no.1
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• pp.154-168
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• 2001

This study is intended to understand an implication and significant of anti-design and Italian radical fashion. Anti-design and radicalism is the main stream or origin and essence of post-modernism which hs been swaying our society at large through modern culture, economy, art, fashion etc, from the latter part of 1960s. In this paper, the author classified the italian radical fashion with the Archizoom, the Alchymia, the memphis fashion. In post-modernism fashion, radical fashion design of the Archizoom, Alchymia and Memphis group is in part a menifesto and in part a noncanonical history of the most progressive and heretical experiments of the world of fashion. Anti-designers of Italy call for a theory an practive in which the old methods and instruments and the old commendments of modernism are banished. They looked on fashion as material culture, a creative field with its own independent foundation and endowed with its own strong artistic intuition. IF radical design is dead, the energy it has stirred up is still alive nd kicking. One of the most progressive and well-informed culture milieus in Milian, seved as a point of reference for the vanguard of fashion.

• Proceedings of the Costume Culture Conference
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• 2004.10a
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• pp.57-59
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• 2004