• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.108-118
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• 2019

Appreciating gardens in garden show has its meaning in appreciating concepts and ideas of artists, hidden inside of garden, as formative arts, as well as the beauty of the nature. This study is aimed to understand the intension of artists in visual expression through formative media in the gardens by assessing structure of visual narrative in the space with 20 artworks among the ones presented in 2018 Taehwagang Garden Show. The formative structure is delivered as contents and forms through formative media and formative language. Thus, for analysis on the artworks, the researcher assessed expressive characteristics of the media, through visual and space language, that forms the formative structure in the contest of narrative structure expressed in the gardens and findings of the analysis are as follows. First, for intertextuality obtained through media image, most of the artworks delivered message through 'figure image.' This means, the concept is delivered as 'affinity of actual objects' through the media and associated 'meaning and meaning action' are expected. Second, the characteristics of signs to show symbolism in the gardens were categorized into 'icon'. 'index' and 'symbol'. The results showed that most of the artworks expressed common characteristics between image and meaning, using 'icon' and 'symbol'. Third, as space formation components, based on formative principles, the components of 'dominant' and 'subordinate' roles were defined as the key components for meaning delivery. Also, it was understood that 'space configuration with overlapped image' and 'space configuration with transparency' were adopted to strengthen conceptional layers. Forth, for space occupation types, there were mostly central hall type, corridor type and passage space type and for open space type, the entire space area was conceptualized, instead of certain object. The circulation line was defined in the frequency order of circular type, pass type and return type. The study on the expressive characteristics of visual narrative in garden design is meaningful as it could build base data for the method of spatial design for visual development of concepts in the future.

• Journal of the Korea Furniture Society
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• v.26 no.2
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• pp.130-137
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• 2015

In this study I made an analysis on the background of creating of Minimal Art and thought of its artists during 1950~1960 and their works. Starting from the early Modernism that tried to depict the life of farmers and laborers in the chaos of war and viewing the art as the tools describing the life itself, minimal art took its root as furniture in ordinary life passing through the era of Surrealism and Dadaism. In 20th century, furniture designers were trying to seek new trend of modern furniture in the perspective of balance and immaculateness while excluding emotion and overall feeling through minimalism. These efforts result in the introduction of immaculateness and refinement in furniture design. Hence, this study is to represent a new trend of furniture design utilizing the margin of furniture in complex lives through formative characteristics that minimal art beholds.

• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.4
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• pp.400-411
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• 2012

This study analyzes the formative changes and trends of cape design in modern fashion. In this study, a total of 496 cape designs were collected through the four major fashion collections of Paris, Milan, New York, and London from 2006S/S to 2010F/W, and a literature overview on capes was performed. The results of this study show that the cases with collars and hoods attached outnumbered the non-collared designs. In addition, the cases of lengthy cape in the hip or knee line represent more portions in designs. As to the material, it indicated that generic cloth was used the most. In most cases, decorations with various details and trimmings were also used. For expression characteristics, cases only with unique texture to cloth material and formative beauty were the most remarkable without decoration. For the formative feature, the independent item style was found the most, even though it was worn together with other kinds of clothing. Integration with other types also appeared such as cape jacket, cape dress, cape one-piece, or cape coat. Cape design features in contemporary fashion and could be characterized as feministic elegancy, harmony of practical value and fashion, authoritativeness, and decorativeness from the design trend analysis.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.107-118
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• 2015

Today, The representation of the modern space is experimented with shape and surface of the de-structural point of view to make architecture and space, in terms of not being able to make defined by single regulation. However, it can correspond to the rapidly changing modern, but it is easy to fade of architecture fundamental meaning. Along with the need for the rise of the construction of fundamental space, should be built a 'tectonic' spatial, which is said to be building of logos. Tectonic, as norms for expressing the fundamental meaning of architecture, as to expression of construction, be unfolded with dualism such as science and art, technology and express, structure and formation, and it was introduced into the architecture through the construction expression of space that was a tectonic discussion of 19c german architects. On the other hand Constructivism which is avant-garde formative movement with Russia revolution, constructed 'sculpture' with the formative principles as tectonic. Tectonic's Formative characteristics can draw a conclusion with of tectonic characteristics of constructivism sculpture, space of logos will be realized through its study. Other hand, The pavilion, as symbol space, can be analyzed by tectonic properties, Pavilion, meaning the space is expressed in a variety of tectonic expression. As tectonic construction, fundamental ideology and symbolization of space is revealed metaphorically and visually.

• Journal of the Korean Society of Costume
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• v.61 no.4
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• pp.24-37
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• 2011

This study aims to figure out any possible expanded expression methods and diverse formative effects in fashion design by recognizing the importance of objects that suggest new paradigms as a means of expressing aesthetic consciousness in contemporary fashion and analogizing the formative characteristics of objects used in fashion and their significance. Accordingly, the study focuses on analyzing and interpreting objects introduced to fashion design with a formative view by substituting the concept of an object that has taken an important position in the contemporary arts for fashion. This study further aims to examine the concept of objects by trend and their characteristics within a syntactical structure and come up with a standard for classification of objects and a framework of analysis from cubism in the early 20th century when the concept of an object began to appear in arts to Dadaism, Surrealism, Pop art, Land art, Environmental art and the present time. Finally, the study aims to examine the status of objects in fashion and the relationships between fashion and objects through analyses on fashion objects and to suggest new perspectives and approaches to interpret the contemporary fashion in the 21st century.

• Journal of Digital Convergence
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• v.16 no.10
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• pp.421-426
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• 2018

For an artwork, color, shape and structure are key factors to create emotional atmosphere of the wrok. And it is fair to say that color is the most important element of the work. The tone of color reflects the joys and sorrows of the picture and the severity of the work's plot. The audience is to be attractted by colors' harmonious or passionate in this visual feast. Fusion controlling of color tone is mainly determined by color gamut that accounted for the vast area of the picture.

• Proceedings of the Costume Culture Conference
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• 2005.10a
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• pp.136-138
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• 2005

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.94-103
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• 2004

This study is to explore the '60s 'Retro' trend appeared in the 2003/2004 Fall ＆ Winter Pret-a-porter Collections which was held in the 4 major cities, Paris, Milan, London, New York on the February and March of the last year. It is often said that the '60s Retro trend is one of the most powerful fashion trends in the 2003/2004 season, and it really affects the modem fashion market nowadays. From this study, we can find that the '60s fashion mode certainly contains the 5 formative characteristics such as Minimal Look, Pop Art Fashion, Op Art Fashion, Space-Age Look, Femme-Enfant Style, and following these 5 characteristics of the '60s fashion mode the retrospective trend can be developed to finally create the '60s Retro Look presented in the 2003/2004 F/W Pret-a-porter Collections.

• Journal of the Korean Home Economics Association
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• v.44 no.10
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• pp.79-90
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• 2006

The purpose of this study was to make new suggestions for the production of high value-added, fashion goods by reviewing and synthesizing the design of dress shirts. (Ed-I've combined paragraphs here) For this study, 1491 photographs on the dress shirts were collected for analysis from men's collection$(2001\sim2006)$. Concerning the actual characteristics of men's fashion design, the following conclusions were obtained from the analysis of the dress shirts of men's collection. (Ed-I've combined paragraphs here) First, feminine ornaments such as frill, pin tuck, and embroidery can be seen in men's dress shirts and men's sexuality has changed into a softer men's image. Second, asymmetry balance using detachability are expressed in the collars, sleeves, and plackets of men's dress shirts. Third, in a very novel suggestion, a combination of two items was designed in a dress shirt and variant shirt forms were created. Fourth, formal style is mainly shown in men's shirts and the traditional classic is increasingly becoming emphasized recently