• Journal of the Korean Society of Costume
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• v.59 no.7
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• pp.114-126
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• 2009

The purpose of this study is to analyze the art characteristics of Japonism expressed in Art Nouveau jewelry. This study also provided an opportunity to seek for the development direction of contemporary jewelry design for the future. The influence of Japanese arts in Art Nouveau jewelry, was mostly from Ukiyo-e, an art form from the Edo Dynasty in Japan. Japanese arts soon inspired the origination of Art Nouveau across Europe in the late 19th century. And the scope of its infuluence is shown in jewelry which created by contemporary painters and designers. Ukiyo-e, a folk painting was created from multi-color wooden printmaking emerged many Japanese art collectors, including Samuel Bing and Arthur Lasenby Liberty. This became a source of new inspirations for Degas, Monet, Gogh and the origin of Japonism. The layout techniques that used perspectives higher than eye level and that extremely cut or expanded major objects for emphasis were typical Ukiyo-e characteristics. The result of this study is found out by showing the evidence that influence of this Ukiyo-e's method came up with specificity as planity, naturality, decoration and express on the Art Nouveau jewelry.

• Korean Institute of Interior Design Journal
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• v.14 no.1
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• pp.11-19
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• 2005

As the world becomes more globalized thanks to the fast development of the Internet, a national identity becomes more important than ever before. Based on this, the study searches for the identity of modern American architecture through exploring the influence of modem American fine arts on the contemporary architecture. It was found that the concepts and the attributes of modern American fine arts obviously transferred into the contemporary architecture. The main concept was elimination of any kind of illusion for maximization of reality, and it was rooted Into American culture, the way of life and thinking. With the concept, the attributes were divided into two extreme poles: materiality and morphology: the former was evolved from Abstract Expressionism and Post-Minimalism and transferred into Los Angeles Avant-Garde architecture; the latter was from Pop Art and transferred into Postmodern architecture and Pop Architecture.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.1
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• pp.53-68
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• 2015

The purpose of this study is to analyze check pattern of nail art from 2011 to 2013. The results of this study are as follows; 1) Check pattern of nail art is total 257 patterns, and there are 84 argyle, 29 tartan, 24 harlequin, 24 over, 23 window-pane, 15 stitcheds, 13 hound tooth, 10 block, 10 madras, 8 gingham, 8 gradation, 7 shepherd, and 2 tattersall check patterns. Through this result, in nail art, the relatively simple patterns such as a vertical pattern, a horizontal pattern, and cross or overlap diagonal line are used more than elaborate and complex check patterns of a fibrous tissue from a weaving process. 2) In check pattern of nail art, N-affiliated color and R-affiliated color are remarkably well-used, because of the effects of argyle, tartan, window-pane, harlequin, stitched, over, and hound tooth check patterns used the most during the past three years. Especially, most tartan, harlequin, over, and hound tooth check patterns use their own special colors such as R-affiliated colors and N-affiliated colors as it is, and argyle, window-pane, stitched, and over check patterns use well by arranging N-affiliated colors and R-affiliated colors. 3) The most used expressive technique is hand painting to express check pattern in nail art, because new products related to UV gel are well launched. These materials can draw fine line that is hard to express by existing polish easily and simply, and not only have set quickly hard, so procedure time is very short, so it is compatible to draw check pattern personally, but also it is well covered, so check pattern is more clearly expressed.

• Journal of the Korea Furniture Society
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• v.15 no.2
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• pp.41-51
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• 2004

Since Cubists represented a way of expressing image moving away from traditional illusion effect, new realities represented by collage and assemblage. Furthermore, Marcel Duchamp, a French Dadaist, suggested the concept of ready-made that everyday objects exhibited in an odd way in a gallery. These early fine art cases highly influenced to furniture design in the second half of the twentieth century. The use of objects in contemporary furniture is closely related to the emergence of Pop Art in the late 1950s and that of Postmodernism. After the 1970s the use of found objects were frequently utilized in furniture design of all over the countries. As an ecological issue became a new consideration to furniture designers, found objects also gave a chance to use recycled materials. Even in studio furniture area which is considered wood as a major material at the early stage, many studio furniture designers began to adapt found objects in their designs as a new source of Inspiration after the 1970s. This study explored various examples of found objects in furniture design and examined the meaning of the use in different designers and regions.

• The Journal of the Korea Contents Association
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• v.16 no.8
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• pp.435-447
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• 2016

In the 21st century, the phenomenon of interaction in between fine art and design has become more increasingly prevalent. In this paper, the author has analyzed the major works of Spanish artist Eva $Armis{\dot{e}}n$ on a cultural criticism perspective, and has proposed a framework for a deeper understating of the artworks, which reflected the characteristics of contemporary art and culture such as deterritorialization of art and design. As a result, it has been found that the main theme of her artworks is about preferred attitude of a human being in relationship with others, unlike daily lives or innocence of childhood which are well-known subjects to the public. Her main female character could have been formed by blending all of her aesthetic reason, and characteristics of this era and cultural elements. It means that the area where the public enjoys the sense of beauty have been extending from the area of the beautiful to the beauty of universality. It has been found that deterriorialization phenomena, which is a characteristic of post-modern art and design work to dismantle an existing order, the repression, appeared in her work. However, several research areas of her works such as relationship between text and image or formative elements or aphorism etc. still have remained to be solved.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.278-286
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• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.

• Korean Institute of Interior Design Journal
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• v.21 no.3
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• pp.87-94
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• 2012

This thesis has purpose of explaining that blur color is not only appreciated but also undecided spacial color in contemporary space design and examining effects of space experience through the light. In keeping such developments, blur color has been perceived as the object of another tool in contemporary space and has provided us with new views by providing various program, sensor and screen from digital media. With the expansion of blur color, light has changed a spacial color structural that is not simple meaning factor into the essential concept. So this research aims to understand the principle of blur color in Olafur Eliasson's work, which of the fine artist in diverse fields from installation art to media art. The principle of blur color such as deconstruction of vanishing point, dimensional transfer, color gradation, and fiction of visual perception makes it possible to extract the expressed element and method of blur color. Meanwhile, the features of blur color such as sense of depth from viewpoint changes, hybrid from collapse of order, media metamorphosis from reconstitution and interaction from uncanny can be inferred from case analysis.

• Journal of Fashion Business
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• v.3 no.1
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• pp.159-175
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• 1999

In literature, a description of costume represents an individual's characteristics when the object is an individual. If the literary object is a certain group in a certain region, it would play an important role in representing the culture of time. It clearly shows that aesthetic consciousness of Hyo-Suk Lee who had accepted the western dandyism was well expressed in his literary works. Hyo-Suk has been unique in describing life-styles such as beauty of costume, art-for-art's sake, and leisure activities, and color imagery in his works. The color and the style of the costume show us the mental state of the wearer. They also affect the emotional states of other people. Hyo-Suk's "Pollen(화분)" and "Byukongmuhan(벽공무한)" confirm the fact that the mentality of the people can be hinted through the description of costume. They also ascertain that the color imagery retained by a special color can be altered by different circumstances and settings. Hyo-Suk applies in his works the effect of vivid color contrast, which newly appeared in Fauvism, to the description of costume. In consequence, he reflects the color aesthetics of Modern Art in which the fine art has an effect on the applied art.

• Journal of Digital Convergence
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• v.16 no.12
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• pp.571-577
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• 2018

Bicycle riders complain of many inconveniences when wearing glasses, sunglasses and masks. The disposable fine dust mask has been developed to resolve such inconveniences of bicycle riders. The scope of research is limited to the fiber which generates one-time static electricity and the shape of the mask due to the characteristic of fine dust mask. The purpose is to design and make the fine dust mask with a simple production process. The new disposable fine dust mask has secured enough space of the mask in front of the mouth by longitudinal folding and minimized stuffiness by maintaining the shape of the folded part to prevent touching the mouth even by heavy breathing. The streamlined sponge is attached at the part of nose support and the area of the cheek has been expanded to be about 2.5cm wider than ordinary masks to improve tight seal at the side. In addition, a new disposable fine dust scarf mask has been developed to block ultraviolet rays for the face and neck while filtering fine dust with the tight fine dust mask.

• Journal of the Korean Society of Clothing and Textiles
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• v.10 no.1
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• pp.69-84
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• 1986

The objective of this Paper was to identify the relationship between the fine arts, pop art and fashion in relation to its qualities, motifs, and techniques of graffiti and collage. The data of this study were collected from fashion magazines such as French Vogue and American Vogue from 1962 through 1970 and Elle from 1980, post cards and reports of costume exhibition in Victoria & Albert museum in London, and newspaper accounts and magazine accounts. The qualities of pop art were characterized as 1) Popular (designed for mass audience), 2) transient (short term solution), 3) expendable (easily forgotten), 4) low cost, 5) mass produced, 6) young (aimed at youth), 7) witty, 8) sexy and erotic, ana 9) big business. Pop art was rooted in urban environment. According to analysis of the data for this paper, these special aspects of that environment reflected on fashion in the 60's. Mary Quant, Zandra Rhodes, Y.S.L., Rudi Gernreich, Paco Rabanne, Pierre Cardin, Andre Courreges in the 60's and Castelbajac and Sprouse in the 80's showed Pop art dresses, mods fashion inspired by pop artists such as Hamilton, Donaldson, Allen Jones, Jasper Jones, Andy Wahol, and Keith Haring. New erotism of fashion was Produced by Y.S.L.'s see-through blouse, Courreges'a hipster pants, and Gernreich's bikinis which revealed the navel and the breast. T-shirts and dresses ornamented with Pop idols' faces, Pop graffitic motifs, and slogans, as a resistant to society, were begun to popular.