• Journal of the Korean Society of Clothing and Textiles
• /
• v.36 no.7
• /
• pp.727-740
• /
• 2012

This study is for the enhancement and utilization of future graphic design for T-shirts and deals with the expression styles and features of T-shirt graphic designs that appear in modern fashion. A literature examination about graphic design and T-shirts was performed for the research method and the analysis followed 378 pieces of graphic design featured in four major international collections for females from 2001S/S to 2011S/S. The research results from the expression type of T-shirt graphic design in the modern fashion are as follows. Expression in graphic figure accounts for the largest portion of 40.8% that includes illustration or cartoon characters, personal figure or part of the physical body, object in daily life or landscape pictures, animals and plants, and others. Expression given in text with typography or logo accounted for 27.5%, expression combined with letter/text, graphics and geometric figures accounted for 24.3%, geometrical expression accounted for 7.4%; most of which are given in print. Characteristics found in modern fashion graphic design are as follows. First, role of sort of public relations marketing was accompanied with utilization of brand logo or symbol. Second, visual play was shown in a sense of humor with diverse graphic figures and playful texts, witty layout with graphic motives, and a free design formation. Third, it denoted a front burner issue delivering the message for various current events or arguments via the way of texts, slogans, and symbolic pictures. Fourth, it depicted artistry through the self-expressive creation of the designer.

• Journal of Science of Art and Design
• /
• v.2
• /
• pp.161-192
• /
• 2000

Body has been high-lightened as one of the most important theme since the philosophy and the arts are focused on it in the late 20th century. It would be of worth to study the characteristics of contemporary fiber-art works, especially done by Abakanowiz who has been regarded as a dominant pioneer in the contemporary fiber-arts from the viewpoint of inter-grade of the physicals and the mental. This paper, therefore, deals with the Abaknowiz' works in the context of human body and body-signs. Life and works might be classified into 5 stages: first, learning period since her birth in 1930, second, creation period of Abakans, third, remodelling period of Abakans, fourth, composition and dissolution period of Abakans and the last and fifth, new transformation period of Abakans. 'Abakans' through her whole life as an artist have been a plastic language and based ultimately on external human body but in various materials and forms. Abakan as a human-sign uses the past experiences and the texts of the other world in mixed and overlapped forms. Life-size Abakans by Abaknowiz can be easily understood as Abakanowiz herself and her Polish ancestor at the same time. The neuter Abakans with mashed face and obscure body is a expressive figure of coexisting world with opposite concepts like war and ideology, anxiety and freedom, man and woman, and etc. Human body as body-sign is an extensive image has existed since our forefathers and overlapped with the inter textual and the popular images. 'Abakans' that is our world and inner-self at the same time might be a window through which she tries to show what the world is.

• Journal of Digital Convergence
• /
• v.15 no.12
• /
• pp.563-571
• /
• 2017

The purpose of this paper is to establish an emotional expression factors of digital eye contents that can be applied to digital environments. The emotion which can be applied to the smart doll is derived and we suggest guidelines for expressive factors of each emotion. For this paper, first, we research the concepts and characteristics of emotional expression are shown in eyes by the publications, animation and actual video. Second, we identified six emotions -Happy, Angry, Sad, Relaxed, Sexy, Pure- and extracted the emotional expression factors. Third, we analyzed the extracted factors to establish guideline for emotional expression of digital eyes. As a result, this study found that the factors to distinguish and represent each emotion are classified four categories as eye shape, gaze, iris size and effect. These can be used as a way to enhance emotional communication effects such as digital contents including animations, robots and smart toys.

• Journal of the Korean Society of Costume
• /
• v.60 no.9
• /
• pp.1-15
• /
• 2010

Fashion designer Jean Paul Gaultier incorporated his own boundless and unique artistic Into his design of dance costumes, presenting an unobstructed imaginary world that was filled with freedom, which is no less than one would expect from the one-time enfant t${\'{e}}$rrible of Paris fashion. This creativity of Gaultier was made possible only through the fantastic partnership he formed with the French modern dancer, R${\'{e}}$gine Chopinot. Gaultier and Chopinot shared a deep-rooted sympathy that enabled their own artistic worlds to fully mingle and cross over, resulting in a doubled synergy of their talent and their fame. This study analyzed 11 dancing costumes created through the collaborated efforts of those two enfants t${\'{e}}$rribles, one from the fashion industry and the other from the world of dance. The following are the results of my analysis. Gaultier's dance costumes served as a artistic venue for experimenting with a number of creative inspirations lurking in his mind, which were sometimes expressed in pr${\^{e}}$t-${\`{a}}$-porter collections. Instead of the decorative and expressive features of conventional dance costumes, his was the revival of the dancer's persona as a human being, ablaze with individuality and uniqueness. He pointed out that there is no good in the distorted turturro's fixed point of view, and the great joy of an opposing way of thinking that overturned the established. Leotard material was used as a second skin by transforming it into various styles and delivering his message. In addition, obscene and sexual expressions were delivered in a direct narrative. His eccentric ideas provided entertainment while showing his oppositional way of thinking. In the dance, the effect of the costumes was doubled by the use of cumbersome and exaggerated accessories, which is generally forbidden in modern dance.

• Korean journal of communication and information
• /
• v.71
• /
• pp.157-193
• /
• 2015

The purpose of this study is to critically interpret generational trends in contemporary Korea through understanding the consumer experiences of luxury bag purchases of women in their late 20s and early 30s. Previous studies on luxury consumption tend to focus on an analysis of the value of luxury products as a sign and a symbol, the characteristics or class identity of luxury consumers, or expressive behavior in terms of ideal self-image. While including these factors, this study also expands the scope to a reflexive understanding of the social structural context behind the phenomenon of personal consumption. This was achieved by considering consumption in terms of the style and practice of everyday life, as well as its opportunities and limitations. In particular, we pay attention to how luxury bags are reproduced as media, which is a process that is circulated back to consumption, and through this process, this study reflects on capitalist life and subjects.

• The Journal of the Korea Contents Association
• /
• v.13 no.9
• /
• pp.260-269
• /
• 2013

Gender role identity is a key subject toward adaptation in later life. In this paper, we tried to understand the specific types and characteristics of gender role identity in view of older men. The research collected and examined 40 representative descriptions representing gender role identity, including 20 for masculinity and 20 for femininity from 40 older men. We obtained four types of gender role identity of older men from this research. "Powerful-expressive type" is energetic and reveals his brave and dominant tendency when they are working. "Powerful-taciturn type" is strongly independent and has a firm conviction, but they do not express those characters and remain silent. "Powerful-paternal type" handles his work with a driving force, and has a tender character. "Paternal-caring type" finds his own worth in life by caring for his family and children, and considers others more than himself. Future research is needed to verify how the types of gender role identity are linked to psychosocial adaptive aspects, health behaviors, mental and physical health.

• Journal of Fashion Business
• /
• v.18 no.3
• /
• pp.73-90
• /
• 2014

Paper, once known and used only as a medium for printing or handicrafts, is now being used in new fields including artistic clothing, and an environment-friendly material for fashion, while the functionality of its formative characteristics and esthetics have been newly highlighted. On this basis, this study performed a content analysis of paper couture and categorization of types of paper modeling techniques based on 904 paper couture submitted to paper fashion shows, exhibitions and contest exhibits from 2001 to 2013. Analysis results showed that paper textile types were most common at 86.64%, while techniques using laminating, bonding, overlapping or paper as-is represented 62.17%. Expressive techniques in which paper was cut or torn and attached to paper clothing was 11.62%, paper folding was 5.75%, drawing and coloring 4.65%, and finally, paper cutting was 2.65%. Meanwhile, among paper modeling techniques using paper yarn textiles, a paper weaving technique was 6.75%. Moreover, other techniques in which paper modeling techniques or subsidiary clothing was blended were 3.65%, and Dak peeling textiles were 1.33%. Paper paste moulding textiles types represented 1.44%, above all papier $m{\hat{a}}ch{\acute{e}}$ techniques of 0.55% and creasing and holding techniques were 0.88%. Paper is sufficient to express the artists' creativity as well as having qualities as an artistic medium, such as variability through combined use with other materials, variation in form, suitability for reuse of waste paper, and environmental friendliness. Also, various paper modeling techniques can be blended with textiles for a generalized technology that overcomes the limits of paper and textiles.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.21 no.1
• /
• pp.163-180
• /
• 2019

A pattern is a symbolic mark of the psychological expression and ornamental desire of the human interior. In particular, plant patterns, from ancient times to modern times, express beauty across both the east and the west. The Joseon dynasty had a strong national will, and it was a time when the symbolism of Korea was established. Plant patterns were decorative and symbolic, filled with meaning in both the textile and craft sectors. This study looked at the frequency and figurative characteristics of the types of plant patterns in textiles, ceramics, woodworking, and metal craftsmanship of the Joseon dynasty. In addition, pattern designs were developed by extracting unit patterns to maintain the original shape, and by adding, magnifying, reducing, and superimposing flat steps and employing the four-fold sequence. The data collected was 826 examples in textiles and crafts, and 34 species of plants were analyzed as follows. In general, the flower patterns preferred soft flowers, flowers, apricot, and peony patterns, and fruit patterns emerged as decorative designs for pottery and woodwork from the 17th century, featuring pomegranates, grapes, fluorines, peaches, and walnut floss. Textiles and woodwork were arranged with many circular designs, while pottery and metal crafts were filled in many ways. Expressive types appeared to be the same as stylistic types for textiles and ceramics, and the construction types were the same in pottery and metal crafts. As such, it was found that even in the different areas of the sculpture, the same aesthetic values were reflected in the common figurative features today. Therefore, in this study, we developed a unique and competitive pattern design that accommodates the modern times and the Joseon dynasty. This development is expected to contribute not only to the development of cultural and tourism products in the future, but also to the tourism industry induced by the Korean wave.

• The Mathematical Education
• /
• v.58 no.2
• /
• pp.225-237
• /
• 2019

The picture of the mathematics curriculum should carry the complex role of relieving the difficulties of mathematics while conveying the core of the mathematics contents well. This study examined the precedence of picture and text harmony and the importance of emotional expression. The discussion of children's picture books became an important reference in this process. The understanding of the child's psychology and cognitive characteristics in the long history of picture books and the insight into the relationship between text and pictures will be important guidelines for elementary school textbooks. Based on these previous studies, this study found some impressive examples of Chinese, Japanese, Indian, and American textbooks on the two complementary relationships between paintings and texts and emotional expressions of paintings. If necessary, we compared these textbooks with Korean textbooks. Through this analysis, this study draws some implications for Korean textbook drawing and textbook production process. That is, the process of reading the picture and interpreting its meaning should be treated as part of the study of mathematics. The mathematical concepts to be dealt with or the sentence description of the problem should be concurrent with the design of the picture. The monotonous expressions and dialogues of characters in textbooks should be avoided, and the personality and emotions of characters should be more abundant and freely expressive.

• Phonetics and Speech Sciences
• /
• v.13 no.4
• /
• pp.55-66
• /
• 2021

Proper prosody in reading allows the reader to naturally convey the meaning, which manifests as changes in pitch, loudness, and speech rate. Children with reading disability face difficulty in delivering information due to poor prosody. This study identified the difference in prosodic features between children with reading disabilities and nondisabled children through means of reading tasks. Reading tasks, according to sentence types (short sentences, assumptions/conditions, intentions, relative-clause), were recorded by 15 children studying in the 3rd to 6th grade in elementary school. Children with reading disability had a statistically significant wider range of pitch, slower speech rate, more frequent usage of pauses, longer total pause duration, and steeper pitch slope than nondisabled one in sentence-final and -medial words. Children with reading disability, therefore, exhibited a less natural and expressive reading than nondisabled children. Through this study, the characteristics of prosody observed in children with reading disability were identified and the need for an approach for effective intervention was also suggested.