• Archives of design research
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• 제14권4호
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• pp.99-108
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• 2001

The Charm is composed of various kind of ancient signs, letters and systematic characters so that they delivers messages with many expressions. They, compared with the experimental typography, are more logical and experimental than we generally think. Also, they have meanings and attributes as characters do, in which there are symbols, hieroglyphs, pictures and other similar words. Each attribute diverse from symbolic meaning, associates to deconstruction of letters. It is needed to review the experimental attributes of charms with the view of structural typography for potentialities of expression. The purpose of the study is to analyze and classify the morphologic construction of charms so that we can find the possibilities of applying the attributes to visual languages and typography. Future study seems to be extending the area of expressing of typography fit for our own culture, not for Western

• Journal of Digital Convergence
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• 제18권11호
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• pp.449-457
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• 2020

The visual representation of plants applied to traditional Korean ceramics is based on the consciousness and sentiment of the Korean people, and one can see the auspicious aspirations and exorcisms that people pursued at that time. These symbolic expressions have been extended in new and colorful meanings through the shapes and decorations of ceramics and their fusion. In this study, the phenomena of convergence expression seen in traditional Korean ceramics are divided into type and type, type and decoration, and their special meaning is analyzed. For this purpose, the shapes and decorations of plants used in traditional Korean pottery are considered based on the literature information. Chapter 2 gives a general analysis of plants that have meanings in their shapes and decorations and introduces their meanings. In Chapter 3, based on the characteristics and meanings of plants, it is divided into shapes and shapes, shapes and decorations, and the convergence of decorations and decorations, and presents newly manifested meanings through their fusions.

• Journal of the Korean Society of Costume
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• 제64권6호
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• pp.91-101
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• 2014

String, as clothing material, has played a functional, symbolic and decorative role in garment traditionally. The string has a shape of continuous line, which is one of the basic elements for the design: points, lines and sides. It can effectively represent the silhouette by making our vision flow to a certain direction. This study reinterprets the traditional form of string in a new modern way by developing "Tube-Shaped String" which has an empty hole in the middle. As a creative attempt, the new tube-shaped string can be used for fashion design by applying it to unique shapes, colors, textures, and draping expressions. In a role dimension, this string can become the main fabric material. The methods of the study are as follows. First, it examines the traditional shape and role of string in the history of garment. Second, it studies modern designers, such as Christian Dior, Ann Demeulemeester, Dolce & Gabbana, and 3.1 Phillip Lim, who have applied the string to their design, and have explored the various potentials of the string in the past four years. Finally, based on the theoretical research and practical analysis, this study creates a new tube-shaped string, applying its own technique to fabricating three garments: jacket, dress, and body suit. As a result, each garment shows unique silhouettes, rich texture and color, and rhythmical movement. The unique silhouettes reflect the shape and movement of different bodies. The texture and color are created through the shades of the string which come from the overlapping strips. The garments come with an unbeatable aesthetic design compared to conventional uniform design. As a new material in clothing, this tube-shaped string can be developed to satisfy the public, which has widely varying tastes in fashion.

• Proceedings of the Korea Contents Association Conference
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• 한국콘텐츠학회 2004년도 춘계 종합학술대회 논문집
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• pp.478-484
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• 2004

This study is a fundamental research for the developing 3D character contents about facial expression as a sort of non-linguistic signs, focusing on an expression of emotion factors of a person. It contributes a framework for symbolic analysis about Human's emotions along with a general review of expression. The human face is the most complex and versatile of all species. For humans, the face is a rich and versatile instrument serving many different functions. It serves as a window to display one's own motivational state. This makes one's behavior more predictable and understandable to others and improves communication. The face can be used to supplement verbal communication. A prompt facial display can reveal the speaker's attitude about the information being conveyed. Alternatively, the face can be used to complement verbal communication, such as lifting of eyebrows to lend additional emphasis to stressed word. The facial expression plays a important role under the digital visual context. This study will present a frame of facial expression categories for effective manufacture of cartoon and animation that appeal to the visual emotion of the human.

• The Research Journal of the Costume Culture
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• 제16권3호
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• pp.475-487
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• 2008

The purposes of this study are to find the values of playful design by exploring what forms of playful expressions and characteristics appear in the haute couture collections that feature "high culture" other than street fashion or popular fashion and to help expand the scope to include newer and more creative design ideas. Concerning theoretical background, the study reviewed the literature to understand the concept of playfulness and see what types of playfulness there are and how it is expressed. Based on the results, the study examined the features of playfulness by analyzing the works of haute couture collections which since 2000. The results can be summarized as follows: First, designers in the haute couture collections constructed their own identities by expressing their instinctive desire for playfulness through graffiti such as cartoons or scribbles and delivering direct and specific messages or ambiguous and symbolic meanings through such things. Second, the haute couture collections revealed the human body in a transformed or distorted shape through deformation of clothes or accessories presented brand-new dressing styles by breaking away from the past ways of dressing; and expressed playfulness intentionally with distorted materials. Third, is the "depaysement" technique. This collage technique selects all possible objects going beyond inartistic routine matters or boundaries of which we are aware and changes their positions and purposes of use to express the playfulness of "harmony in disharmony." Fourth, the haute couture collections created a feeling of playfulness by featuring parodies of retro elements, a slice of popular culture, or a variety of painting styles. Finally, like using dolls or toys as accessories or making direct use of parts of clothes, combinations between attributes given by the images of those accessories themselves and creativities found in haute couture dresses are just as fun of authoritarian bias in favor of prestigiousness.

• Journal of the Korean Institute of Landscape Architecture
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• 제26권4호
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• pp.25-35
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• 1999

This thesis is to newly understand the value and the meaning of Chonju Palkyong(全州八景) by the specific gravity in making a counter-proposal in other to improve the landscape identity of modern city and at the same time. I intended to group the grafting device for the preservation and regeneration of modern history cultural environment through the interpretation of landscape construction. The meaning system of Chonju Palkyong showed the symbolic system which a landscape construction, four directions and two places has and exhibited the landscape shape possessing a luxuriant local feature peculiar to Chonju, preserving visual bound language of a classical Palkyong. Especially, it implies the use of the substantial landscape experienced factor, the expressions about natural phenomena and the matter which has melted human living circumstances. The landscape construction and it's form show the system which forms the different time field, a far landscape and a mid distance landscape and a near landscape, etc., under the visual, psychological, scenic influenced area, preserving the feature of the similar and typical type of Sosang Palkyoung（瀟湘八景) which intended to seek the local reappearance of the famous site experienced type and natural matter which famous place and local conduct were combined. The object space of Chonju Palkyong area representing the nature of historical landscape cultural assets, pushed by the greater part of the development based theory, shows injured aspects, but needs to play a part to seek such a up-to-date successive plan as the reconstruction of the destroyed historical landscape area which motivated Palkyong, the establishment of useful area, the embodiment of the cultural identity of Palkyong area and the becoming of the educational cultural life space. The analysis of the landscape construction of Chonju Palkyong and the grouping of the modern successive plan which I considered in this thesis, will be able to become a fundamental data to carry out the preservation of historical landscape and the landscape plan in the city.

• Journal of the Korean Society of Costume
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• 제59권8호
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• pp.82-96
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• 2009

The purpose of this study is to present the basic approach of producing the luxury fashion brands containing of the Korean traditional traits on the basis of traditional transformation with the modern concept, taking the 'Vivienne Tam' 2000's collections. This study has focused on its transformation of the traditional one of China, and made this as the subject of investigation. It's design characteristic could be defined as "modern interpretations of China chic", and it would be divided into two groups. The ingenious mixture of Chinese tradition into the modern chic could be concluded like these. The external characteristics is categorized in the three ways (1) the aesthetic application of the Chinese traditional patterns(dragon, water waves, peony, Japanese apricot flower, bamboo, bats, Chinese characters etc.), (2)the modern application of Chinese traditional costume details(front opening of Chipao, mandarin collar and knot buttons) and (3)the modernization of Chinese traditional technique(knotting, embroidery, beading and paper cutting). To deal with the internal characteristics, (1)the aesthetic mixture of East and West, (2)the formative expressions of the traditional view on the universe and religion are remarkable. The Chinese embodiment and the view of the universe and religion was integrated into the patterns of dragon, water waves, clouds, fire, woods, and metals. In order to afford the creative designer capable of encompassing the East and West, the teaching about the Korean tradition along with the technical and practical aspect of fashion is most important, while encouraging the professional designer to make a sophisticated ones which are attributed to the Korean tradition, and thereby come to be attractive to the world customer. The study about the Korean costumes, traditional colors, the symbolic meaning of the traditional patterns, cuttings, compositions, extending to the various kinds of myths, songs, paintings and crafts are essential for the Korean designer brand to be the global luxury brands.

• Korean Journal of Community Nutrition
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• 제21권5호
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• pp.415-425
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• 2016

Objectives: The purpose of the study was to develop a textbook of the integrated education of Korean food culture and language for married female immigrants. Methods: An analysis was conducted with the textbooks and researches for married female immigrants, and dietary life related contents were extracted. The contents were organized by activity oriented approach which is acquired the culture. The evaluation was conducted through depth interview with 6 married female immigrants through an analysis of the qualitative materials. Results: The text book comprised of 30 Korean food recipes with the target expressions and vocabularies. It also included Korean basic table setting, Korean table manner, main dishes and side dishes, basic cutting, seasoning and garnish, measure of the ingredients, symbolic food, regional food culture, choice of food ingredients, shopping, bargaining, taste expression, color expression, all sorts of spices, Korean traditional festival food, and seasonal customs and food. For intensifying communication, activity which is close to real life was added. Through cooking, married female immigrants expose words and sentence patterns and that allows to evaluate their level of understanding. We observed that the developed textbook is suited for married female immigrants' needs and cognitive level. The text book included a comparative study between Korean culture and their country's culture, which could provide the motive for accepting each other's cultures. The study showed how to develop a textbook that integrates Korean language education and Korean food culture and how to apply the textbook in real life. Conclusions: The correct understanding about Korean food culture could lead to improvements communication ability. Useful information which relates to Korean food, recipes, and food culture could increase daily life satisfaction. Conducting both cultural education and language education could increase the participation of married female immigrants in learning activities. Therefore this study could help these females to adapt Korean society and manage family dietary life effectively.

• Cross-Cultural Studies
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• 제34권
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• pp.43-68
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• 2014

This writing, focused on by Tarkovsky and by Song, Il-gon, examines moments of sage which is what Eliade described as 'hierophanic time'. These productions, which can be seen as movies that seek after the truth, show important paradoxical ideas and expressions in those moments. This is because symbolic messages from unrealistic and out of ordinary images are specifically shown. If they had to be compared, through the film by Tarkovsky, the technical civilization of contemporary society in an apocalyptic view is criticized and saved, or the prophetic will to not give up the desire for salvation is shown. In the process, the short shots which forces to show hierophanic time not only diversely visualized the author's ideological self-consciousness towards the conversion of the new world, but it also fulfills the metahistorical meanings mentioned by Eliade. However, in the film by Song, Il-gon, the realistic personal sufferings of three women is specifically shown first in extreme. They overcome their unsolvable problems through mysterious rituals and belief in miracles. In the scenes that include hierophanic time, there are many cases that cover Christian faith and the meaning of salvation. In other words, we can say that hierophanic time in , are related to conviction which led to moments of miracles in order to overcome reality. Therefore, even though there is a difference in the way authors use hierophanic time, the scenes that show it in the two movies display individuality of mythical imaginations disclosed by Eliade. This is because the general hope for reproduction, or meaningful symbols related to the ideal conversion of affairs are revealed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• 제29권4호
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• pp.198-206
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• 2011

Poems written on the tablets hanging in Kwanghanru(a pavilion in Namwon, Jeollabuk-do) reveal each author's view of landscape and their recognition of the pavilion and it surroundings. This study consists of the following four analysis frames of the characteristics, sensations, and temporal and spatial axes of the landscape elements grouping tablet poems into two categories of deunglusi of Joseon's literary men, and baegiljangsi and cheongtaksi of the 1930s. The result of the landscape element analysis shows that physical elements are shown more frequently than symbolic ones. Among the physical ones, natural elements are used more often than artificial ones. The landscape elements appearing in each individual poem of baegiljangsi and cheongtaksi are relatively more than those of deunglusi. When the landscape elements are analyzed by sensational aspect, most of them are visual in nature, and there also appear some that are aural or olfactory in nature. Analyzed from a temporal axis, expressions related to autumn and evening and night are used frequently. From the spatial axis, foreground elements are preferred to middleground or background ones.