• 복식문화연구
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• 제23권3호
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• pp.425-438
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• 2015

This study aims to integrate sports uniform design into fashion as an effective communication means by analyzing the uniforms of women's pro basketball and volleyball teams in the country. As part of the research method, a literature review was conducted on the domestic pro sports background and women's basketball and volleyball uniforms. For empirical research, an analysis was performed of the uniforms of 12 teams in total: six women's pro basketball teams and six women's pro volleyball teams in the 2013~2014 league. The following results were obtained. First, in terms of formativeness, sleeveless shirts and shorts are basic in both basketball and volleyball. However, there are remarkable differences between the two. Shirts in volleyball are tighter, with the body figure visible, and shorts are shorter in length than those in basketball. Most basketball uniforms have a V-neckline and are collarless, while volleyball uniforms have a standup collar in all teams. Second, both basketball and volleyball apply the representative color of the sponsoring company and the team's typical color, but common colors, such as blue, navy, and white, are used in many teams, which fails to represent a uniquely differentiated image. Third, the logo or symbol of a sponsor is excessively applied to both basketball and volleyball uniforms. This downgrades the uniform's own esthetic features. Fourth, a fashionable uniform design, that reflects the bodily characteristics of women and the characteristics of the sports game would be a beneficial communication tool for all the tiers to become involved in participation and entertainment.

• 복식
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• 제65권5호
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• pp.113-125
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• 2015

The purpose of this paper is to study the $boutonni{\grave{e}}re$, a floral decoration, history of $boutonni{\grave{e}}re$, a floral decoration, with a focus on its aesthetics, its practical use and its traditional meaning. After the examination of its history, the paper, recreated the proceeds by taking into consideration both the contemporary men's fashion, as well as the $boutonni{\grave{e}}re$ designs of the past. The three factors of contemporary $boutonni{\grave{e}}re$ design, in brief, are its historical meaning, the visual aesthetics and the wearability. In this paper, the research and design steps are as followed below. First, the paper examined the history of men's fashion leading up to the twenty-first century in order to get a deeper understanding of the history of $boutonni{\grave{e}}re$. Second, the paper attempted to find the most suitable fabric materials and flowers for the $boutonni{\grave{e}}re$, in order to produce diverse $boutonni{\grave{e}}re$ that can be worn in any season and occasion. As for the fabrics that can be used to make the $boutonni{\grave{e}}re$, organza can be used for the S/S season, and wool, tweed and suede can be used for the F/W season. The major characteristics that differentiate the kinds of $boutonni{\grave{e}}re$ are the "Carnation" and the "Rose of Sharon". The 'Rose of Sharon' $boutonni{\grave{e}}re$ as the symbol of our nation possesses an intricate meaning and practical function, so that this $boutonni{\grave{e}}re$ is used as an alternative badge of the national assembly and other social-national institutions and their members. This idea expands into other social and individual features that the $boutonni{\grave{e}}re$ is a differentiated fashion item that provides other personal styles and expresses individuality.

• 디자인학연구
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• 16호
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• pp.185-196
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• 1996

The series of ‘Dubonnet’poster is one of the masterpieces of Cassandre who was the leader of advertising poster in 1920's and 1930's. Orihinally it was a triptych, but it was developed as a serial work later through lettering and seasonal advertising posters. It was kept in circulation for more than two decades and issued in a variety of formats. In this thesis I tried to figure out the artistic character and uniqueness of Cassandre's poster by analyzing it with many different points of view of the poster, the stream of changing style and influence from the Avant-garde painting. In chapterII, objectively analyzing the series of‘Dubonnet’one by one, I examined the method that Cassandre used to deliver the concept of advertising and his message. The triptych, the first one of series of Dubonnet poster is witty, the slogan is a pun using the words dubo(doubt), bon(good), and Dubonnet, and the theme is treated as an animated sequence in the manner of a comic strip. In the following winter and summer seasonal advertising posters, the‘Dubonnet man’in the same position is enjoying the‘Dubonnet’, irrespective of the hazards of climate and season, There was a change towards 1929 that rectilinear design gave place to supple and undulating lines in Cassandre's posters. Seasonal advertising posters also showed the change, and the tendency of realistic and concrete elements of an expression was strengthened. In chapterIII, I studied three as main characters of Cassandre's poster. The first one is simple and geometric expression, second one is uniqueness of figures and the last one is important roll of lettering. Cassandre believed that there were fundamental differences between the function of a poster and that of a painting. He also recognized that the symbol was the essential element in the poster design, which would be simply and swiftly recognized. The recognition led him to simple design and bold geometric abstraction. He was a man who knew the value of copy in advertising and developed it fully in his simplified geometric compositions by integrating of letterforms and image. The‘Dubonnet man’is geometrized, almost featureless. This approach of rendering human beings was one that Cassandre had used from the early years, most notably in his posters for Dubonnet.

• 한국실내디자인학회논문집
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• 제17권4호
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• pp.11-22
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• 2008

This study aims at clarifying the circumstances under which the Korean Pavilion was constructed at the 1900 Paris Universal Exposition, and major architectural features of the pavilion building, In particular, this thesis studies the construction history of the Korean Pavilion newly developed by Comte de Mimerel on the part of France following the sudden death of Baron Delort de Gleon during the construction of the Korean Pavilion, as well as architectural features of the draft design. The Korean Pavilion designed by Comte de Mimerel completely reproduces Keunjeongjeon of Gyeongbok Palace, faithfully complying with the then design tendency of the exposition. Mr. Young Chan Min, the Vice Chairman of the Seoul Organization Committee, positively participated in the construction process, and traditional carpenters in Chosun, together with Mr. Young Chan Min, were dispatched to Paris to engage in the construction of the pavilion building. This is substantially in contrast to the earlier design. According to the analysis in this study, although the Korean Pavilion designed by Comte de Mimerel was primarily built with the fund of the French Government and under the French architectural system, as a result of the Korean Government's positive participation in the construction process, it was decided to use Geunjeongjeon, the symbol of Chosun, as a model of the pavilion, and therefore, the Korean Pavilion was recognized by the Europeans as a monument of complex and sophisticated civilization. Furthermore, commercial and colonialistic expressions, which were found in the earlier plan, are rarely found in the Korean Pavilion designed by Comte de Mimerel, and we can see that this is the result of the attempt to fully reproduce Geunjeongjeon, the major building of the Chosun royal court, in building the Korean Pavilion.

• 한국전통조경학회지
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• 제37권3호
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• pp.108-118
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• 2019

정원박람회에서 정원을 감상한다는 것은 자연에 대한 아름다움과 함께 조형예술로서 정원의 내면에 숨겨진 작가들의 개념과 아이디어들을 감상하는 데 의미를 가진다. 본 연구는 정원에 표출된 조형 매체를 통하여 작가의 의도된 표현 특성을 파악하는 데 목적을 두고, 2018 태화강 정원박람회에 전시된 정원 중 총 20개 작품을 대상으로 공간에서 전개되는 시각적 서술의 조형 구조를 파악하였다. 이것은 조형 구조가 조형 매체와 조형 언어를 통하여 내용과 형식으로 전달되는 특성을 반영한 것이다. 작품에 대한 분석은 정원에 표현된 서사구조로부터 조형 구조인 시각언어와 공간 언어를 통하여 매체의 표현 특성을 파악하였으며 결과는 다음과 같다. 첫째, 상호텍스트성을 통한 매체 이미지는 다수의 작품이 '도형적 이미지(figure image)'를 통하여 메시지를 전달하고 있다. 즉 개념은 매체를 통하여 '실제 대상의 유사성'으로 전달되며, 이에 따른 '의미와 의미작용'을 기대하는 것이다. 둘째, 정원에서 상징성을 보여주기 위한 기호(sign) 특성은 '도상(icon)', '지표(index)', '상징(symbol)'으로 구분하여 추출하였다. 그 결과 대부분의 작품은 '도상'과 '상징'을 통하여 이미지와 의미 사이의 공통된 특성을 표현하고 있다. 셋째, 조형 원리에 따른 공간 구성요소들은 '주체적(dominant)'인 역할과 '종속적(subordinate)'인 역할의 요소들이 개념전달을 위한 주요 인자로 도출되었다. 또한 '중첩에 의한 공간 구성'과 '투명에 의한 공간 구성'을 통하여 개념적 층위를 강화하고 있음을 알 수 있다. 넷째, 매체의 공간 점유유형은 중앙홀형, 통로형, 개실형 등이 주를 이루며, 개실형의 경우 특정한 오브제가 아닌 공간 전체영역을 개념화한 특징을 가진다. 동선의 유형은 순회형, 통과형, 회귀형의 순으로 빈도가 도출되었다. 이와 같은 정원디자인에 나타난 시각적 서술의 표현 특성에 대한 연구는 향후 개념의 시각적 연출을 위한 공간설계 기법의 기초자료를 마련하는 데 의의가 있다.

• 한국의상디자인학회지
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• 제4권1호
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• pp.61-72
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• 2002

This paper is the second part of a series of the research about the Teddy boy style which is to examine various fashion changes in subcultural styles in 1900s. The main concern of this research is to investigate the creation and meaning of the Teddy boy style, how it interacted with the elements of class and generation and how the materials needed by the group constructed and appropriated into the visible systematic cultural form of correspondence. The Teddy Boys are the first recognized members of the British youth culture, which is known as the new Edwardian because of their dress. They had created the concept of the "teenagers," which forms the basis of the sense of a "generation" in the 20th century. The Teds set the style that would be used and modified in the following generations. They adopted the Edwardian style of the upper class, and changed it into their own style by modifying it and adding to it some other elements. The Teddy boys style is a special version of the sartorial appropriation encountered in the sphere of the fashion history. It actually began immediately after the war by the upper class youth far from the working class neighborhood. In the late 1953, the elitist aura surrounding the Edwardian suit was suddenly shattered. Within just a few months, the Edwardian suit became a source of social anxiety and the focus of a symbolic battle. Although the Edwardian look had initially went back to the upper class root, it became a symbol of rootlessness. In appropriation of this image, The Teddy boys were also rejecting the sartorial conformism of the English working class with its modest tradition. In this respect, the Teds effected the ascent or fall of the working class in the area of fashion. The Teds dress was not a merely borrowed fashion, but was a bastard fashion in the form of American trends, the Zoot suit. At this time members of the working class possessed only work dress for the week and waist suits for the Sunday outings. Teds broke this pattern, and developed the working class dandyism of wearing clothes simply to show off. The results were that they succeeded in opening the teen market, and popularizing a working class style for the first time in British history. The Teds became the first British street style with ties music, and remain as an symbol of the rising of a new age of values and styles.f values and styles.

• 한국전자파학회논문지
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• 제29권4호
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• pp.299-307
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• 2018

본 논문에서는 X밴드 위성통신을 위해 권고되는 4D-8PSK-TCM(Four Dimensional 8-ary Phase Shift Keying Trellis Coded Modulation) 시스템을 비선형 HPA(High Power Amplifier)와 전치왜곡기를 고려하여 설계하고, 스펙트럼, BER(Bit Error Rate) 성능을 평가 및 분석한다. 위성통신에서는 한정적인 전력으로 인해 전력을 가장 많이 소모하는 HPA의 동작점을 결정하는 비선형 특성 분석이 매우 중요하다. 본 논문에서는 2, 2.25 bits/channel-symbol의 효율을 갖는 4D-8PSK-TCM 시스템을 설계하였다. 시뮬레이션 결과로, 낮은 PAPR(Peak to Average Power Ratio) 특성과, 스펙트럼의 점유 대역폭을 기준으로 SRRC(Square Root Raised Cosine) 필터의 Roll-off 값은 0.35가 효율적이며, 전치왜곡기를 사용하지 않을 경우 HPA에서 약 15~20 dB의 OBO(Output Back-Off)가 요구되며, 전치왜곡기를 사용할 경우 약 1 dB 내외의 OBO가 요구됨을 확인하였다.

• 대한전자공학회논문지TC
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• 제46권10호
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• pp.28-33
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• 2009

본 논문에서는 항공시스템의 데이터 및 음성 통신을 위한 VHF (Very High Frequency) digital link mode-2 (VDL Mode-2) 시스템에 적합한 수신 알고리듬을 제안한다. VDL Mode-2 시스템은 패킷 방식으로 동작하며 이에 따라 최적화된 패킷 검출 알고리듬을 설계하여야 한다. 또한 VDL Mode-2 시스템에서는 송수신 여파기로 각각 제곱근 상승 코사인 여파기를 사용하는 일반적인 디지털 통신 시스템과 달리 점유 주파수 대역 요구사항에 따라 송신 여파기로 상승 코사인 여파기를 사용한다. 따라서 수신기에서는 ISI (inter-symbol interference)와 잡음 특성을 고려하여 최적화된 저역 통과 여파기를 설계하여야 한다. 이와 함께 VDL Mode-2 시스템의 안정적인 동작을 위해서는 송수신기의 반송파 주파수 차이와 도플러 주파수 천이에 의한 주파수 오프셋을 추정하고 보상하여야 한다. 본 논문에서는 VDL Mode-2 시스템을 위한 패킷 검출, 수신 여파기 및 주파수 오프셋 추정 및 보상 알고리듬들을 제안하고 제안한 기법들을 적용한 VDL Mode-2 시스템의 성능을 분석하였다.

• 한국의상디자인학회지
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• 제15권3호
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• pp.157-166
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• 2013

Features of the Occult Culture is preferred that powers, demons, magic, magical, unreal etc. Currently Occultism is getting a lot of attention to the public in the society, culture, arts and the play. Fashion in the period that includes all circumstances is a field. Thus, the current Occultism and modern fashion will also be related. Objective of the study is to figure out the form and meaning of Occultism in Contemporary Fashion. An example of the best of contemporary trends is the mass media, For this reason, Occultism symptoms range of case studies mess media(television programs and film). Research on contemporary fashion range was used 2000-2013 fashion collection extracted from the data. Represented in the mess media features of occultism is 'Witchcraft and Sorcery' and 'Death and Horror'. They are story of wizard exorcism and unnatural horror. In the 21st century, modern people are enjoying occultism, and occultism is the one of the entertainment. Expressed in contemporary fashion features of occultism is 'Super-human organism', that is out of the human body, ignoring body shape and type of transformed organism. Second distinction is 'Ghost', they are something like the dark and dismal, shape of ghosts and look pale. Third distinction is 'Neo-Macabre', it is the shape of the skeleton. Skeleton symbolizing the end of life, skeleton to express Occultism has emerged as the most representative motifs in the 21st century fashion. Occultism expressed in fashion is a gothic fantasy, because the fashion can be expressed. In addition, people in modern society wants to be against the norms and taboos. The trend Occult-culture is a symbol of the public's desires and needs.

• 디지털융복합연구
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• 제14권10호
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• pp.449-454
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• 2016

본 연구는 효과적인 캐릭터와 브랜드 이미지 활성화와 홍보를 위하여 경쟁력 있는 시장에서 효과를 창출할 수 있는 방안을 제시하는데 목적이 있다. 콜라보레이션으로 가장 많은 관심을 끌고 있는 카카오와 라인을 연구대상으로 선정하여, 정의 및 서비스 특징에 대한 문헌적인 조사를 통해 서비스의 개념과 유형을 분석하였고, 캐릭터의 개념을 통해 캐릭터 사업에 관한 진행사항을 살펴보았다. 피터 모빌(Peter morville)의 허니콤(honeycomb)의 원칙을 재구성하여 사용자 경험을 위한 척도의 기준을 설정하고 현재 캐릭터 콜라보레이션 상품을 이용하고 있는 사용자를 중심으로 심층면접인터뷰를 시행하였다. 연구결과, 카카오와 라인의 특화한 캐릭터를 중심으로 분석하여 선호도 조사함으로써 효과적인 마케팅 기법과 효과를 창출 할 수 있는 가이드라인을 제시한 것에 의의가 있다.