• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.232-245
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• 2021

The present study is about a brand development strategy that utilizes Korean traditional patterns. The global culturenomics phenomenon confirms the value of the cultural aspects of design when a national brand is established. People succeed with their unique aesthetic sense and reinterpret it in a modern view, and this design acts as today's national brands. In this way, people used traditional patterns and original designs, along with regional characteristics and formative style, in developing their designs. However, due to recent changes in the global environment, modern people live in an "untact" world, and consumption culture shifted toward online marketing. In this environment, where one is isolated from social activities, there needs to be a strong image that can dramatically change the mood of one's home. I would like to re-examine the Dan-Chung pattern, whose painting depends on the aesthetic characteristics of architecture to protect the wooden members of the framework in traditional architecture. The pattern and color of Dan-Chung, coated in traditional architecture, differs by the type of construction used, which includes a palace, a Buddhist temple, and a Confucianism Dan Chung. The Geummoon pattern contains aesthetic factors to add solemnity to the Main Buddhist Halls, which contain Buddha. This is a new medium that continues the current traditions instead of remaining in the past. Among different Dan Chung patterns, Geummoon has magnificent decoration consisting of the highest grade materials and unique composition; therefore, it is suitable to be reinterpreted in modern terms. The same pattern can be interpreted in different ways with different colors, so there is a great aesthetic impression in the Geummoon pattern. The value of preservation for exploration and theoretical study of the traditional pattern is important, but recreating the pattern into modern formative art can present a new angle of view and national brand, bearing pride in our cultural assets. The study used multidimensional molding methods for realistic presentation after going through the two-dimensional design process. The significant value of Korean molding beauty which hangs onto the past will play a crucial role in establishing our national brand.

• Journal of Fashion Business
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• v.15 no.1
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• pp.185-204
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• 2011

The purpose of this study is to take into consideration the formative and aesthetic characteristics of wedding dresses that existed during the periods of Neo-Classicism and Romanticism which appeared as a reaction toward Neo-Classicism. The method of the research was mainly focused on precedent research data and general references. Furthermore the data on wedding dresses was mainly collected from British, French, and American library and museum web sites. The result of the research is the following. The Neo-Classicism art, which appeared along with the enlightenment in the beginning of the 19th century, pursues beauty based on associations and imitations of ancient Greek and Roman arts. In addition to aforementioned pursuits, the Neo-Classicism art also pursued universal beauty and social usefulness through law and order. This aesthetic value was also applied to the wedding dresses, so classical beauty, natural beauty and universal beauty were expressed as follows: corsets of the previous era were removed from general clothing and Empire style that imitated natural Greek style became predominant. Also, muslin replaced high quality clothes which were used as the main materials of the dressing during the previous era. Empire style's wedding dress became popular and simple colors and styles of the wedding dress expressed the beauty of the human body and emphasized civility at the same time. Romanticism art and costumes opposed rationalism and pursued sentimentalism. Moreover, it pursued diversity, exotic tastes and accepted diverse reactionism unlike Neo-Classicism's simplification and standardization. These aesthetic characteristic were applied to the wedding dress of this period; wedding dress of romanticism pursued feminine and elegant beauty with "X" silhouettes and various decorations, like general costumes. And they were decorated with a variety of excessive accessories, details and trimmings to express romantic sentimentalism. Exotic tastes which included Chinese, Egyptian, Indian influence and other diverse tastes were expressed through hair style, accessories and patterns of shawl. However, the white color in the wedding dress revealed purity and sanctity which cannot be found from general costumes regardless of whether the dress expressed Neo-classicism or Romanticism. As a formal dress worn during wedding ceremonies, the wedding dresses of the royalty revealed dignity and authority and significantly influenced later wedding dress designs.

• Korean Institute of Interior Design Journal
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• v.22 no.4
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• pp.23-32
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• 2013

This study represents something in common and differences of organic characteristics between early modern architecture and contemporary architecture analysing F. L. Wright's Robie House and Toyo Ito's Sendai Mediatheque. A natural organic body cannot be separated from the natural environment, and each part of an architecture has each own property and forms a whole at the same time. That is a basic concept of organic architecture, and a framework for analysis is set up based on it. The followings are similarities and differences of organic concept and interpretation between Wright's Robie House and Ito's Sendai Mediatheque First, Wright' Robie house unites with the natural surrounding, using a physically close connection to the ground. In contract, Ito's Mediatheque shows characteristics of noncentural and fluidic space that are metaphorically reflecting tangible and intangible of factors in modern city, where there is an ambiguous physical boundary between architecture and urban environment. Next, floors, walls and ceilings of Wright's housing as for basic building blocks are physically separated and at the same time form formative unity from the point of view of a physical and structural organic body. And continuous flow of faces of separated walls form an organism united with the nature from a physical aspect. On the contrary to this, there is an no-boudary and floating organic architecture of integrated structure from ambiguous setting of relation between architecture and urban space in Ito's architecture. Especially, Mediatheque shows semantic integration of floating urban environmental factors through horizontal and vertical integration of horizontal slabs, vertical pipes, and skins. Last, horizontal and vertical factors of Wright' Housing is appreciated as an basic experienced structure in terms of spacial perception and fluidic inner spaces in Wright's housing is completed with a series of spatial experiences in a visual sense. On the other hand, no-boundary and floating space of Ito's architecture accept user's physical and virtual body. Especially, there is an integration transcending beyond time and space, accepting an imaginary body and events with the course of time at Ito's Mediatheque.

• Cartoon and Animation Studies
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• s.47
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• pp.125-148
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• 2017

This paper analyzes Korean aesthetic characteristics of Korean independent animation, which is closely related to artistic and social characteristics, by searching Korean independent animation image for the winner of "Indie AniFest", the only independent animation film festival in Korea. And social communication methods. There are three ways in which Korean Independence Animation shows the way of speaking through award-winning works. The first is a method of expressing feelings, impulses, and desires in a formative way, and a direct and sensuous image as in sign language or sound. In the second method of speaking differently with images, in the third method, It makes the voice of the fringe through the real world of the story sound as a story of reality. Animation is a medium that 'originalizes and communicates meaning' as an image, and has implemented and constructed a new way of speaking, which is different from existing social voices. Nevertheless, it is not easy to find a research that approaches animation from the viewpoint of social and political speech through images. Therefore, this paper is necessary for the balanced development of animation. In addition, this study can contribute to re - examining Korean independent animation from an academic point of view and to discover and evaluate fair value from a wider perspective.

• Journal of Digital Contents Society
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• v.18 no.8
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• pp.1529-1535
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• 2017

Due to its unique formation and mystery phenomena, comets is a major motif that inspires various creative fields. Media art that has been developed and expanded in step with the development of modern scientific technology has expressed the unique characteristics of comets such as their structure in the art as a motif, using technologies. This study describes the process of producing "Near by", an distance-recognition interactive media art. offering the audience a chance to create a tail of a comet as they close to it. changes the color of a LED structure representing the nucleus of a comet as the audience approaches it. At the same time, a video of a comet's tail is projected. Through this interaction, the audience will renew their perception on comets and emotionally interact with the art. This work capturing not only the formative characteristics of a comet, but also its forming process as a motif. Such composite way of expressing a motif could be presented as a possibility of extending the expression of the natural phenomenon in the future media art field.

• Journal of the HCI Society of Korea
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• v.13 no.3
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• pp.17-33
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• 2018

Humans process aesthetic functions of objects such as form, size, color, and texture through vision, while at the same time observe them with a symbolic function by a new psychological interpretation based on their past experience. Therefore, it is more important to study and understand the thoughts and psychological influences of how humans perceive with their eyes than what humans simply look with them. With this research purpose in the background, this study will demonstrate in detail the cognitive characteristics of analog and digital images as a symbolic function with a "formative" point of view. Five hypotheses were established, which were proven through the following tests: smartphone, most frequently used in our daily lives, is simplified to a two-dimensional line drawing form, which is set to instances where the R(radius) is applied to the horizontal line of the two-dimensional form of smartphone, where Run-in-R(radius) is applied, and R(radius) rounding is applied to the edges of those shapes. The shapes were combined to form 12 pairs, which was used in a test to the test subjects. As a result, some human characteristics were observed; in specific, some helped prove objectively how humans perceived analog and digital images as psychologically stronger as a symbolic function. If people's thoughts and feelings gained through such study could be stored in database as one value and be provided to product designers, I believe it could be developed into design form as a basic emotional design that consumers desire.

• The Journal of the Korea Contents Association
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• v.21 no.9
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• pp.88-104
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• 2021

The visual expression of deconstructive graphic design influenced by postmodernism differs from the traditional ways of graphic expression that consist of precise images and text and is challenging and highly experimental. The characteristics of the formative nature of such deconstructive graphic design emphasized the importance of the reader as the principal agent of aesthetic experience in the appreciation of works. For this study, a new ideological framework was developed regarding the ambiguity arising due to visual experimentation in deconstructive graphic design, assuming the central theory to be the Reception Theory (Aesthetics of Reception) centering around the recipient who is the reader. The characteristics of Iser's Reception Theory are substituted as a theoretical category and an interpretation of the works of ambiguity in deconstructive graphic design is carried out. Although Aesthetics of Reception is a literary theory about the interaction between the artist and the reader, as a method for interpreting deconstructive graphic design influenced by postmodernism, it laid a theoretical foundation and enriched the interpretation of works. Moreover, the four characteristics of Iser's Reception Theory were used to create a framework that suggested a new direction for the approach based on the reader's interaction in the process of interpreting works of modern graphic design.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.2
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• pp.13-24
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• 2020

This study derives the characteristics of the private external space planning in multi-family housing through the analysis of the good case built after 2000 in Europe. First, the cases were categorized into block or block perimeter, linear and point type to examine the relationship between the type of building in urban context and the location of private external space. By block or block perimeter and linear type, private external spaces are planned in the inner courtyards or open space between buildings used as common space for residents, inducing communications between neighbors. And the direction of private external space depends on the arrangement of the building mass in urban context. In the classification as point type, there are many cases, where private external spaces are arranged in all directions, connected almost all interior spaces. Second, based on the above results, the planned characteristics of the private external space are derived by dividing it into three categories: intermediated space between inside and outside, intermediate space between private and public /individual and collective space and the identity of the intermediate space. (1) In most cases, direction, size of enclosed area and location of private extern space is designed to fit the surrounding context, so residents can perceive as much of the assets of the surrounding environment as possible, and it can be used as an extended area of living space. In another cases, it is divided into various sub-areas to experience the spatial transition from inside to outside or vice versa. 2) The private external space, which is placed in a courtyard or in a collective open space, is partially enclosed and blocked, allowing interaction with the neighbors without pressure. Along the street, they are designed to allow residents to experience the vitality of the city and to be formative element of the facade, which could confidently reveal the lifestyle and taste of residents. 3) By some of point types, which facade is three-demensional layer as a habitable external space, the private external space is very flexible for use. This intermediate space is composed of diverse spaces for various needs, or it has generous size with positional conditions connected with all interior spaces to be used multi-functional.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.24-37
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• 2023

This study analyzes the materials and external characteristics of the Angbu-ilgu, a kind of scaphe sundial, which was newly designated as a Korean Treasure in 2022. The Angbu-ilgu Treasure is owned by three institutions - the National Palace Museum Of Korea, Gyeongju National Museum, and Sungshin Women's University Museum - and is similar as a twin in its material, size, outward appearance, as well as production techniques that include casting, silver inlays, and metal joints. The Three-Treasure Angbu-ilgu is made of brass in the ratio of 90.6: 6.0: 1.8 with Cu: Zn: Pb. This composition clearly differs from Treasure No. 845, an Angbuilgu which has a composition ratio of 82.2: 3.7: 11.8 with Cu: Zn: Pb. In this new Angbu-ilgu Treasure, the hemisphere's stand has four vertical pillars sculpted in a dragon pattern and bilateral wings carved in a cloud pattern on the pillars, which are joined to the hemisphere's horizontal ring with rivets and silver solders, respectively. The dragon-in-clouds pillar (雲龍柱) shows the most outstanding formative beauty of the various Angbu-ilgu pillars produced in the late Joseon Dynasty. It can be seen that the altitude of the north pole engraved on the Angbu-ilgu was made after 1713. Production is, however, actually estimated to have occurred close to the 19th century, the era of the Jinju Kang family, who were professional Angbuilgu makers. Hopefully, this study will lead to a historical science and technology review with modern scientific instruments analyzing the materials and external characteristics of the three Angbu-ilgus designated as a Korean Treasure in 2022.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.63-78
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• 2008

Since 1960, minimalism has been one of the fashion phenomenon and turned out in many different ways. After postmodernism which contains negotiation and pluralism, appeared in 1980, there was a new wave of post minimalism that inherited 1960's minimalism. Minimal style which come out of 60's fashion, is marked by simplicity, minimal expression, and monochrome color, and it shows up simple style with no decoration. It opened up a young fashion period, and we saw minimal style in sports wear which utilized simplicity and function with spread of sports in the 70's. And also since 1980, Post-Modern widely influenced the idea about modern culture as well as complicated clothes getting rid of fixed concept, seeking to break the boundary between culture and life which were seek in fashion and personality as well as various characteristic, Accordingly in different ages, The style and image were borrowed from different culture and natural environment mixing the image, cultural phenomena like these appearing in complexity and expression, variety and possibility of new vision was expanded. Since 1980, Fashion has become more gradually diversity, high classed, required of each individuality. The phenomenon of fashion reappearance which was influenced by minimalism is continued to 2000. The Oriental style fashion is still attracted, so The new term "Ethic Minimalism" has appeared along with the trends which is put together. Therefore the purpose of this study is to search the concept and the characteristics of ethnic minimalism, to consider the relationship between minimalism and ethnic minimalism, and reveal the characteristic of ethnic minimalism happened to modern fashion. The study method went through literature research and practice research. The range of this study is oriental fashion spanning of from 1960 to current day. Photo records from this period show well the spirit of the oriental and the personality of minimalism. The oriental representative designer and western representative designer are centered Consequently, The formative characteristics of ethnic minimalism are simple, pure, unbalanced free style and representing the phenomena of compromise, blending oriental and western fashion. Structually, Elements of space and plane are emphasized, colors are restricted, and materials are composed mainly of natural fiber. So, minimalism based on simplicity combined with a structure of oriental spiritual depth and space, It could be called ethnic minimalism as a rational fashion.