• 한국가구학회지
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• 제17권2호
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• pp.89-100
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• 2006

Minimalism describes various movements in art and design, which flourished mainly in the USA in the 1960s. Its popularity, however, was cut short by post-modernism. In the mid-1990s, minimalism was given a second breath of life and became culturally popular, especially in areas such as design and art the minimalist movement launched some trends that supplanted post-modernism and whose influences still cast a heavy shadow on society today. From this point of view, in analyzing the form and characteristics of the artists and their work from the 1960s, which were the first generation of the minimalist furniture designers, it is necessary to understand and analyze contemporary artists and their art. In this study, four American minimal artists in the furniture design field, Donald Judd, Richard Tuttle, Scott Burton, and Richard Artschwager were studied along with their works. The results show the three distinct characteristics of minimalist furniture design featuring strict and simple geometric shapes: the form, which was influenced by early modernism variety and origin, which are formative of the materials and the way they are used as influenced by surrealism and a new concept of art such as aesthetics for the little things, which echoes influences of Dadaism, and especially of earlier artists such as Marcel Duchamp.

• 한국실내디자인학회논문집
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• 제14권5호
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• pp.114-122
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• 2005

A study of light in Kahn's architecture must be significance as a work in building new architectural space and a new foundation for architecture, as well as clarification of the uniqueness of Kahn's architectural space and search for its significance. In addition, the study provides a greater comprehension of an the concept of Kahn's architecture by clarifying the degree of association of light into other concepts of architecture. Therefore, this study attempts to examine Louis I. Kahn's statement, sketch and work. His sketch along with the characteristics of the technique how to present it also enables comprehension of other aspects of architecture as a means to revive architecture. Khan's use of light enabled the evolution of primarily two types 'specular surface' and 'unique opening part' by associating them with the need to diminish glaringness. Each of these types has been evolved individually and is indicative of a concept of light that can be largely divided into ' object's light ' and ' space's light ' Object's light refers to a type in which the formative significance of structural part and different directions of light coexist, and its formative characteristics play a role that differentiate places within space. Space's light is present on wall spaces that limit space and exhibits its distinguished role differentiating places within space in the form of 'expression'.

• 복식
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• 제62권7호
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• pp.54-66
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• 2012

This research analyzes the late Joseon's variously developed characteristics of women's underwear and its formative elements, and ultimately aims to apply such characteristics to designing modern outfits. The main purpose of the presented work is to give guidelines on utilizing the fashion legacy in a various way, and inheriting the traditional concept of beauty by developing it into modern fashion designs. The designing and producing of the work is based on the analysis of previous researches, genre paintings, and traditional costumes in museums. Based on this research, the application of traditional underwear design to today's outfits involves the following points. First, the presented work features the formative outlines of traditional underwear as an inspiration for outer garments. Secondly, various traditional textiles are used such as ramie fabrics, damask silk, silk fabrics, fur, etc. for four seasons and they are turned to practical use for modern outfits. Third, colors of choice are white and low saturation colors to create an elegant and serene atmosphere. Finally, traditional sewing techniques are specifically applied to modern fashion designs. Included are: Nubim technique, Gob-sol technique, and the patching method. This work pursues the design of practical use by tying up clothes with straps and knots to prevent them from falling off.

• 한국의류학회지
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• 제32권1호
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• pp.77-87
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• 2008

Modern fashion industry creates complex and multiple fashion by amalgamating and mixing all elements that emerged in fashion without limiting them to a specific genre. The results of study are as follows: First, with regard to the conceptual differences among poor look, anti-fashion, and resistance fashion and the background. second, As aesthetic categories of poor beauty, its image with the feeling of poorness, beggar-likeness, worthlessness, poorness, and uncleanness is divided into the beauty of moderation, deconstruction, unfinished beauty, natural beauty, and ostentatious poor beauty based on the formative characteristics and poor look. Third, Oriental and Western poor images are comparatively analyzed. The poor beauty found in Oriental fashion, which is based on Zen aesthetics, seeks loneliness, poorness, and simplicity as an empty origin and features internal meaning that expresses the purity of poor beauty itself and external form that is visualized through no decoration, no color, and asymmetry in material and composition. The poor beauty in the West features non-form of no shape, asymmetry and disharmony and the characteristic in its contents is "distortion", and the characteristic in its expression features external form of "incorrectness" and internal meaning implying modem humans' frustration, resistance to materialism, and skepticism about mechanicalism.

• 한국가구학회지
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• 제27권3호
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• pp.185-196
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• 2016

This study is about watching the changes in Modern and Contemporary ages, through Traditional Ottchil Painting analyzed the formative characteristics presented on 23 pieces of Najeon Master Bong-Ryong Kim. He restored and reproduced the Ottchil Painting Technique by making Najeon ware (lacquer ware inlaid with the mother-of-pearl) on the Korean Modern and Contemporary period. The formative characteristics of his Ottchil Painting Technique are as follows. He used a lot of the Myochilchaehoi Technique as the technique of expression, along with the Najeon Yanggam Technique mixed with Myochilchaehoi Technique. The frame material of Ottchil Painting Ware is handcrafted wood. And in the painting foundation, red is presented more than black. The colors of painting and the pattern drawn on the foundation of Ottchil painting are mainly bright red, blue, yellow, black, and white (five-color). The main pattern used is the dragon, and the subordinate patterns are clouds and Arabesque. Also, the main pattern is solo, and the subordinate pattern is mostly an arrangement combination of radiation symmetry. This style of art was most commonly used for painting fruit trays. As stated above, Bong-Ryong Kim presented various and masterful aesthetic quality based on sincere and exquisite Najeon ware production skills.

• 한국의류산업학회지
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• 제25권2호
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• pp.153-164
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• 2023

As interest in the environment and sustainability increases, a tendency to pursue eco-design is emerging. Sustainable design coincides with the Korean aesthetic sense of applying the principle of the circulation of nature. This study examined Korean traditional furniture, Bandaji, from the perspective of historical and cultural sustainability and extracted and adopted a sustainability-related motif. The purpose of this study was to develop a creative bag design that reflects Korean tradition and strengthens artistry. First, a bag was produced based on the morphological characteristics of Gyeonggi-do Bandaji. Second, though the original overall design was maintained, the decorative patterns were modified by, for example, increasing the number of ear decorations on the surface of the bag and reducing the number of traps. Third, a new geometric pattern was created for the surface of the bag; this entailed moving the position of the handle-shaped ear ornament and the leather. Fourth, new decorative patterns were drawn on the surface. This study is meaningful in that it presents a sustainable bag production methodology that reflects Korean aesthetics. It also showcases a designer's unique, creative, and artistic bag design. It is expected that design work inspired by Korean formative beauty will be an opportunity to simultaneously utilize and support various Korean cultural assets and artworks.

• 복식
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• 제65권8호
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• pp.110-124
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• 2015

This study examined a phenomenon of exaggerated hairstyle in the history of Western custom through publications related with Western costume and research papers. By adopting the criteria of Delong, M. R. to analyze visual forms shown by interaction between human body and costume worn over the body, it analyzed the formative characteristics by the interaction between hairstyle and costume. In addition, it inferred the aesthetic characteristics through content analysis of examined phenomenon focusing on socio-cultural background and costume socio-psychological precedent studies. Formative characteristics of exaggerated hairstyle applied by analysis criteria of Delong, M. R. were in pursuit of the emphasis style. This was clearly and intensively recognized by forming spaces for mostly closure style, part style, three dimensional style, determinate style, and space separation style. Regarding the interaction between hair and ornamentations, 'precedence of ornamentation' was pursued as ornamentations were recognized earlier than the hair itself. It means associative meanings of the surface effect were accompanied by emotions of 'intensiveness' and the pursuit of the attractive style. As for the interaction between hairstyle and costume, there were many cases of pursuing 'continuity' mutually and visually by connecting the hairstyle and the costume. Aesthetic characteristics of exaggerated hairstyle were inferred as 1) the expression of the sprite of the age(i.e. art, culture, politics, society, ideology, religion), 2) symbols of wealth, class, authority, and excellence, 3) pursuit of addicted desire to ornament, and 4) harmony through continuity with costume. This study verified that hairstyle was connected as a part of costume, or formed as a way to express deeper human psychology beyond just a part of a costume. It was also confirmed that hairstyle was an expressive method to express the spirit of the age, such as art, culture, society, religion, ideology.

• 한국의류산업학회지
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• 제18권6호
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• pp.858-868
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• 2016

This study aims to examine the formative characteristics of seniors' fashion in overseas social media, and look into the psychological characteristics of seniors by analyzing the emotions and the characteristics of psychological mechanism in seniors' fashion. The study methods include statistical analysis and content analysis for literary study and data analysis. For data analysis, statistical and content analyses were conducted to analyze 992 data collected from Advanced style, Facebook, and Instagram for 4 years from 2013 to 2016. In formative features shown at overseas social media, circle and square silhouette, achromatic color and warm color, showy tone color, soft material, horizontal details, plain and natural patterns, cap and sunglasses production, and sophisticated elegance styles appeared high. The emotional characteristics in senior's fashion had a silhouette that expressed stability, color that expressed passion, love, happiness, joy, hope and comfort. Materials were expressed by the emotions of dependence and attachment, details were expressed by stable, maternal, calm, comfortable and harmonious emotions. Patterns were expressed by the images of beauty, love, fruit and psychological stability. Accessories were expressed by young and characterful images. Style expressed the emotions of trust, pride, longing, intoxication and ecstasy. The characteristics of psychological mechanism used such shapes and patterns as flower, heart and lips to symbolize the emotions of love, humor, and fun. Young and trendy fashion were expressed in compensation for aging. Kitsch and kidult style was expressed by regression. Elegance fashion was expressed by the sublimation of pride, trust and intoxication.

• 한국의상디자인학회지
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• 제24권4호
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• pp.117-133
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• 2022

In order to reflect traditional elements in modern design, designers should be able to creatively apply elements of traditional Chinese clothing. To understand this, a deep understanding of and insights into the traditional clothing culture are required. In this study, the characteristics of traditional Chinese women's clothing from the Wei, Jin, and Northern and Southern Dynasties of China to the Qing Dynasty were analyzed by dividing them into silhouette, color, pattern, materials, and detail. The characteristics of the silhouette were classified into A, H, X, and O types, of which types A and H were the most common. As for the color characteristics, there are relatively many five cardinal colors, and for the contrast of colors complementary colors were mainly used. As the for pattern characteristics, real patterns, animal patterns, character patterns, geometric patterns, and mixed patterns were used. Four types of materials were mainly used: silk, hemp, cotton, and wool. The detail characteristics were also anlyzed by classifying them into collar, sleeve, neckband, and gusset. Based on the results of this analysis, a satisfaction survey was conducted on the design of modern Chinese women's clothing. The result of satisfaction with design elements showed that the images of vest and suit were most preferred, H and X silhouettes, and yellow and white were the most preferred. Geometric and plant patterns were preferred, as were silk and acetate materials. Based on the result of chi-square analysis of design element preferences according to the characteristics of the subject, there was no difference according to occupation, residential area, or income, and there were differences in silhouette, color, materials, and detail according to age.

• 커뮤니케이션디자인학연구
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• 제59권
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• pp.298-308
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• 2017

전 세계적으로 국가간의 커뮤니케이션이 활발하게 이루어지고 있는 현대사회에서 각 국가들은 스스로의 문화적 정체성을 확립하기 위해 부단한 노력을 기울이고 있다. 우리나라 또한 이러한 세계적인 움직임에 발맞춰 '한국적' 전통을 활용한 디자인 개발과 이를 실생활에 적용하기 위한 활발한 연구가 이루어지고 있다. 하지만 아직 우리나라에서 이루어지고 있는 한국적 디자인이란 단순히 전통 형태나 색채를 그대로 모방하는 것에 멈추어 독창적인 민족적 미의식을 창출해 내기에는 부족한 부분이 상당부분 발견 된다. 한국 전통 문화에 대한 연구가 지속되고 있음에도 불구하고 이러한 현상이 지속되고 있는 원인은 한국적 문화 정체성 확립과 활용이 아직은 부족한 결과라 사료된다. 이에 본 연구에서는 색채와 함께 한국의 전통미를 결정하는 주된 요소인 조형성, 즉 형태분석을 통하여 한국의 전통 형태의 정체성을 확립하고 예시를 통해 이를 현대디자인에 적용시키기 위한 방법을 연구하는 것을 목적으로 한다. 이를 위해 한국 전통 조형미에 대한 논의가 이루어 질 때 가장 빈번하게 언급되는 선(線)과 문양(文樣)을 중심으로 그 사용 행태와 조형적 특성을 의(衣), 식(食), 주(住)로 나누어 분석하고 현대적 적용 가능성을 위한 기초자료를 제시하고자 한다.