• Transactions of the Korean Society of Automotive Engineers
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• v.13 no.1
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• pp.184-193
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• 2005

Digital representations of products and parts have largely replaced physical drawings as the form in which product data are stored, analyzed, and communicated among the people contributing to the design of an automobile. Many individuals and companies participate in the design of an increasingly complex automobile; hence, the design process depends critically on team members' ability to share information about essential design elements. These trends have elevated the importance of the quality of product data and its efficient exchange. In this paper, we show state-of-the-art on Product Data Quality(PDQ), and activities of PDQ assurance. And we propose a novel design history-based approach for diagnosis and healing of a CAD model.

• Journal of Fashion Business
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• v.18 no.6
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• pp.100-115
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• 2014

This study examined the history of nail art in 20th century, defined characteristics of many techniques used on nails, and analyzed how those techniques have been utilized in recent nail art works. For the method of the study, books and previous studies on nail art were examined as primary sources, and newspaper articles on nail art were studied as references. Then, the case studies were conducted on photographs of nail art works published in Nail Holic in 2012. As a result of analyzing expression techniques of nail art featured on Nail Holic, there had been a total of 517 works created using a single technique. The reason why hand painting is used very frequently is because artists can draw unique images of their own to create various designs according to their tastes. Rhine stone is also very popular, because stones are easy to apply and various in their shapes and colors. There were a total of 555 works created using two or more techniques. The most important point to examine is that hand painting, rhine stone, and 3D art were most popular among all techniques. These works featured highly various effects and images by combining flat effect of hand painting with three-dimensional effects of rhine stone or 3D art. The tendency can also be found in the fact that there have been many works using techniques of flat effects such as decal or marbling combined with techniques of three-dimensional effects such as rhine stone or 3D art.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.2 s.121
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• pp.37-48
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• 2007

An exhibit entitled 'Revelatory Landscapes' was held at the San Francisco Museum of Modem Art from May 5 to October 14, 2001. For this Museum's rot off-site outdoor exhibition, five outstanding design teams-Kathryn Gustafson, Hargreaves Associates, Hood Design, Tom Leader Studio, and ADOBE LA-created site-specific installations in Berkeley, Oakland, San Jose, and the San Francisco Bay Area. Each project showcased a hybridization of environmental art and landscape design. The main content revealed through revelatory landscapes were the natural, cultural, and historical palimpsest of the sites-particularly as related to the history of minorities such as Native American, African Americans and Latin Americans-as well as the every day life of ordinary people. To represent these ideas, a juxtaposition of the past and the present was broadly applied. Furthermore, the use of dramatic colors, textures, and forms in consideration of materials coupled with the revelation of natural elements such as wind and sunlight accelerated the effect of this juxtaposition. Every project of the Revelatory Landscapes exhibit requires a phenomenological experience to be appreciated. Via the five senses, these experiences cause a synesthetic experience beyond solely the visual. By examining the projects of 'Revelatory landscapes', the threshold for a new blending between environmental art and landscape design as well as new landscape design strategies that overcome the dichotomy between nature and culture will change and evolve.

• Korean Institute of Interior Design Journal
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• v.17 no.4
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• pp.50-57
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• 2008

Futurism can be defined as a movement in the early 20th century founded by Italian writer Marinetti apposing to traditional and conservative art. Though its life as a movement seemed to be fairly short, it can be said that the very essence of futurism can be seen whenever there is radical change in our society such as the information revolution. Even though the information revolution has brought us many positive improvements our life including art and design, lately there are also discussions about the defects in our life. Ron Arad may be considered as a designer and artist whose intentions and expressions are very similar to those of futurism. This study investigates concepts, meanings, and expressions of futurism in art history and then those of Ron Arad's shown in interior design projects. By examining selected project examples the author defined that rather than optimistic viewpoints, avant-garde and technological aspects were found to be strong in symbolic qualities. As for expressive qualities, dynamism and continuity appeared to be Ron Arad's unique expressions, very similar to those of futurism on the other hand, purity and temporarily were found less. It is hoped that the study may be a help in better understanding futuristic qualities of Ron Arad, one of the radical and experimental designers of our age.

• Archives of design research
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• v.11 no.2
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• pp.155-164
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• 1998

This study is a proposal for the positive application of collage techniques into the process of interior design. For that, we need to set up the appropriate definitions of collage and to analyze its properties as a creative design methode of that field, in the basis of the twentieth-century art history. The study is divided into three sections as follows: 1) The traces of collage in the art movements such as Cubism, Dada, Surealism, and Pop art will be researched in terms of art concepts, appearances and, properties. 2) The relationships between collage and the main ideas of those art movements, as mentioned above, will be discussed for proving that collage is such an effective techniques as to erdxxly Post-modem ideas. 3) The examples of collage techniques and their effects appearing in Post-modem interior spaces will be surveyed for the purpose of proving its abilities as a creative design methode in interior design. Further studies should be succeeded for suggesting practical and educational models of its application.

• 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.

• Journal of the Korea Convergence Society
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• v.8 no.4
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• pp.273-278
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• 2017

Contemporary art make-up is being widely developed in line with the trends of individualization and differentiation departing from basic desires or logical thinking about the desires of human beings who ultimately pursue beauty and experiencing diversified convergence and integration befitting customer needs. Cubism that has been playing a central role at the center of art history in the $20^{th}$ century can act as a good material based on creativity with regard to expression of the art make-up. In this regard, the study was focused on creating new concepts of design and novel areas of expression by combining expressive methods of cubism with art make-up to suggest an art mask. As for a method of the study, cubism and art make-up were examined based on preceding studies, Internet data and technical books, and the expression method of cubism was divided into plural points of view, partition of shape and collage and motivated the works of Picasso for the purpose of art mask-converged design. As a result of the study, it was found out that the expression method of cubism was applicable to the art make-up, and creative art make-up converged design could be generated to make a suggestion. In this regard, it is hoped that further studies will be facilitated and that this study can be instrumental in developing art make-up design.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.614-622
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• 2016

As media become diversified, animation fields are being expanded. Various types of animations which were not seen in the past have appeared and the fields which did not have a suffix of "animation" now use the words of animation like motion graphic-animation or interactive-animation. This thesis is a comparative analysis study of U.S. animation education. This study collected and reviewed respective curricula of total 5 universities such as Academy of Art University, California Art of Institute), Ringling College of Art and Design, Rhode Island School of Design, and School of Visual Arts which have led U.S. animation education since animation education was first introduced in 1961. Based on the result drawn from the analysis on the classification of animation curricula into a required subject, an elective subject, liberal arts, a theory subject and a practical subject, it intends to consider improvements of Korean animation curriculum.

• Journal of Information Technology Applications and Management
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• v.29 no.2
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• pp.1-15
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• 2022

Image has more power in the 21st century than ever before. With the advance in technology and media, image is either made or received more easily and promptly using digital technology. Because of that, it has been hard for digital images to gain value as a work of art. But after NFT technology was developed and then applied to digital images, we have come to distinguish the original from the copy of it. People are trying various ways to allow digital images to be acknowledged as art, and changing the nature of digital images that makes new paradigms in the history of art. Through NFT artworks rising as a new style, this paper analyzed and investigated the new properties and changing characteristics of digital images in order to anticipate the characteristics of artworks that the public produces, enjoys, and consumes. This study is grounded on experimental analysis methods, and this author expects that it can contribute to figuring out which kinds of visual culture and artworks digital image is influencing currently from various perspectives.

• The Journal of Art Theory & Practice
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• no.10
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• pp.7-23
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• 2010

In this paper I examine Cesare Cattaneo and Mario Radice's Camerlata Fountain in northern Italy, focusing on the work's relation to the urban environment and its "mobility" over several decades. As I demonstrate, the design of Cattaneo and Radice's work relates to the circular layout of a traffic intersection and was intended to be viewed from the window of a moving automobile. In this way it continues a tradition, begun by the Futurists and continued by Le Corbusier, who saw the car as central to modern art and architecture. Moreover, the work relates to the concept of mobility in so far as it was in itially built in 1936 in Milan and subsequently destroyed and reconstructed during 1962 in its current location near Como. As the history of the work's conception, production and reception demonstrates, Cattaneo and Radice's work not only responds to the experience of vehicle-generated mobility in modern society but also reveals the tensions and anxieties associated with an increasingly dynamic urban environment.