• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.3 s.43
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• pp.209-221
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• 1992

A standpoint art's style, present-day Western dress was establishing a systematic, theoritical value in sphere of fine art's meaning & it's expression on the modern fashion. For this reason, I selected Impressionism (a broad senes: be included Impressionism, Neo-Impressionism, Post-Impressionism) that was designated 'the revolution of color'. In the previous paper, 1 already discussed about the modern fashion under the influence of the color of Impressionism, from this study, Neo-Impressionism's techniques & it's influence on the modern fashion was investigated. The Impressionists had purposely used uneven brushwork & a vivid palette to transmit the intensity & immediacy of nature, whereas the Neo-Impressionists utilized methodically applied dots, a technique commonly described as Pointillism, to achieve their rationalist goal of eliminating the fugitive & the casual in order to seize a more fundamental reality. Of all them, Seurat had already become interested in the posible analogies between science, music & psychology on the on hand & art on the other, and scientist's books & articles offered a wealth of theoretical support. 1'articulary, it was corroborated that effects of sadness, calm, or happiness could be achieved through manipulation of color & design. The conclusions are as follow: 1. Through the modern fashion, a space between pattern & pattern was reflected unstable balances & harmonies, that, Neo-Impressionist emphasized the distinction between outdoor & subject, between elaborately clothed & nude figures, corresponded to modern fashion's pattern. 2. The modern fashion was presented a small border or band within the pattern itself which colors complemented those of the adjacent pictorial surface and mediated between the painted image & its enclosure.

• Archives of design research
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• v.11 no.1
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• pp.209-218
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• 1998

Information is the most important rather then wealth in the information age. According to propagation of the information by new media, this era is called communication innovation age. And away of thought and life style as well as a society system are changing. Propagation by newspaper and TV as well as new media makes new view on value of consumers, and they recognize propensity to consume as needs from emotion rather than economical value. Changes of thoughts make lots of innovation:from one side, modern design to multi-meanimg design, from consuming of products to consuming of the image, from outer object to inner object, from consuming by mass to consuming individually by fashion. It means the possibilities that a meaning could be interpreted variously. Sign is a configuration for communication with discourse, which is the communication between meaning maker and meaning solver. In this study, various expression of sign in advertising were divided into direct expression and metaphoritical expression which was analysed deeply because it was recoquized as proper expression methed in postmodem design.

• Archives of design research
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• v.18 no.2 s.60
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• pp.283-292
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• 2005

Recently automotive markets are on the way into maturing status with the mega merger between makers which brought equalizations of technology and upgrade of overall performance of vehicles. And the needs of automobile also changed into replacement buying from the entry buying. For the reason why it is the recent trend which has more importance on the software oriented element such as the sane design of vehicles than the hardware like the mechanical elements. This changing characteristics of market which requires more creativity and finished style treatment on an automotive design demand the concept of shape grammar for conducting shape on the macroscopic view. In this research the possibility has been observed to use the body proportion as the concept of the shape grammar for analyzing the relations between the form, sign, and perception as a basic principle of organizing shapes.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• The Journal of Art Theory & Practice
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• no.4
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• pp.105-121
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• 2006

The term 'modern', in broader sense, refers to the concepts like modernity, modernization, modernism and the like, which came from Westernization impling the recognition of indigenous culture as being inferior to Western culture by comparison along with the expanded influences of the Empire of Japan. These concepts, however, rather than evolving from Western standards, came into being as a form of civilization led by Japan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came to create eastern way of modernism, as a new East Asian trend mainly revealed in China which was against colonization after Japan's invasion and conquest of Manchuria. Therefore, Eastern' modern' unlike Western one could be understood in the widespread terminology, 'Modern(摩登)' in Shanghai, reflecting consciousness like 'Fashion' or 'Trend' in female images on a variety of visual media. By 1930s it was the most notable that 'modern' was accepted as something similar with 'Fashion', or 'Trend' in sociocultural contexts. These atmosphere had led commercial arts to enable to communicate with the public in a great deal of supports and success in Shanghai which was widely regarded as the citadel for the inflow of Western culture, among which transformations in female images were remarkable as a representative form of culture. It is also remarkable that 'historical modernity' transforming from the feudal age to modern society was considered a synchronic modernity, and nationalism was regarded as a sort of being modern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way of expressions showing what was modern through commercial artistic productions, were easily noticed in visual media as an outlet of modern women's inner desire revealing their pursuit for new mode of life in metropolitan cities. As a characteristic of the time creating a new code of visual female images, it is notable that there existed another form of 'modern' satisfying socio-cultural needs of the general public seeking for being 'modern'.

• Journal of Fashion Business
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• v.13 no.4
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• pp.85-98
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• 2009

Advance development of the internet has brought significant changes to the distribution structure of the fashion industry, resulting in decreased sales in Road shops and sudden growth of online fashion specialty shopping malls. As detailed analysis on internet fashion shopping malls is necessary in order to make a future projection on changes in the fashion industry, this thesis aims to study the color, fabric / pattern, silhouette, item / detail, image, etc of 2008 S/S apparel fashion style sold in the top ten shopping malls, selected in terms of sales volume and awareness. The results were further analyzed to characterize each individual shopping malls, upon which the design was compared with the five main trends for the season provided by three fashion research agencies in order to study the level of trend acceptance. Studies showed that 'Romantic Sake' trend was most widely accepted, followed by 'Eco Nature' which most reflected the characteristics of Spring. 'Modern Ethenic' trend was most aggressively accepted at more upscale shopping malls targeting older demographic, while " Play Urban' was highly accepted by shopping malls specializing in young casual. Due to the disadvantage of not being able to try on the items before purchase, styles following the 'City Luxe' trend featuring fitted suits showed the lowest trend acceptance. Amongst the design elements, color was most widely accepted.

• The Korean Journal of Petroleum Geology
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• v.11 no.1 s.12
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• pp.9-17
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• 2005

In the main target area of the block II, Targe-scale faults occur below the unconformity developed around 1 km in depth. The contrast of seismic velocity around the unconformity is generally so large that the strong multiples and the radical velocity variation would deteriorate the quality of migrated section due to serious distortion. More than 15 kinds of data processing techniques have been applied to improve the image resolution for the structures farmed from this active crustal activity. The bad and noisy traces were edited on the common shot gathers in the first step to get rid of acquisition problems which could take place from unfavorable conditions such as climatic change during data acquisition. Correction of amplitude attenuation caused from spherical divergence and inelastic attenuation has been also applied. Mild F/K filter was used to attenuate coherent noise such as guided waves and side scatters. Predictive deconvolution has been applied before stacking to remove peg-leg multiples and water reverberations. The velocity analysis process was conducted at every 2 km interval to analyze migration velocity, and it was iterated to get the high fidelity image. The strum noise caused from streamer was completely removed by applying predictive deconvolution in time space and ${\tau}-P$ domain. Residual multiples caused from thin layer or water bottom were eliminated through parabolic radon transform demultiple process. The migration using curved ray Kirchhoff-style algorithm has been applied to stack data. The velocity obtained after several iteration approach for MVA (migration velocity analysis) was used instead or DMO for the migration velocity. Using various testing methods, optimum seismic processing parameter can be obtained for structural and stratigraphic interpretation in the Block II, Yellow Sea Basin.

• The Journal of the Korea Contents Association
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• v.19 no.6
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• pp.334-346
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• 2019

This study aims to investigate the appearance of Gyeongridangil and its related commercial streets, which seemingly serve as a place brand. Internet trend data, locational conditions, and commercial compositions were analyzed to determine the characteristics of their formation. Result showed that, as the commercial streets developed because of social network services, the street names tended to be considered as place images. In terms of locational conditions, they chose rather remote places, risking the disadvantages for their own spatial style. Interpreted within the framework of place branding, these streets seemed to identify themselves with a unique streetscape using spatial restraints as an advantage. They positioned in a niche area to avoid conflict with other commercial types and attract consumers with the image of "suppliers of trendy lifestyle", thus successfully becoming a place brand.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.779-790
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• 2016

This study is to exhibit the iconographic narrative and visual culture of ancient Chinese art. The focus of the study is the composite integration of literature and graphic forms, in particular the heterochronous expression of different scenarios of scenes occurring in different time periods in pictures of ancient art. The unity of their origins with picture narration and comic art creation is the fusion of our modern times. The ancient Chinese understanding of visual art includes the traditional style of images and their symbolic meanings. Among artistic narrative expression, imagery contemplation and visual presentation have significance. Artistic thinking is inseparable from visual articulation. It is a rational thought process through creative language interpretation in visual media of imagery narratives. The characteristics of ancient imagery thinking and the way of presenting sequential incidents in the form pictures is a creative space of time. This is the spatial thinking of modern comic art, which is demonstrated through acceptance in artistic styles. Image narration needs new forms and media styles, including integrating with cultural values as aesthetic communication is necessary.

• Korean Journal of Heritage: History & Science
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• v.45 no.2
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• pp.54-71
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• 2012

This paper investigates Buddhist sculptures of the Gulsan-sa School of Seon Buddhism, which was established by the priest Beomil(梵日) at Myeongju(溟州), present-day Gangneung(江陵) area, and prospered until the late Goryeo period. There are very few surviving Buddhist images at Gulsan2 temple-site showing the Buddhist art when Beomil or his disciples, Gaecheong(開淸) and Haengjeok(行寂), were active, except a set of huge stone pillars for temple-banners and a stone monk stupa. It is therefore necessary to focus on pieces of artworks in Gangneung and nearby areas to explore the characteristics of Buddhist art of Gulsan-sa from the late Silla to early Goryeo period. For example, the stone relief seated Buddha image, one of Four Buddhas of Four Directions, and a stone relief of standing Guardian King both from the stone pagoda at Mujin temple-site(無盡寺址) can be compared with stupa reliefs at the capital Gyeongju area in their high quality of carving. The stone octagonal base showing seven lions on each of seven sides at Boheon-sa(普賢寺) demonstrates that it was made as a part of an octagonal lotus pedestal for a Vairocana Buddha now lost. Since Boheon-sa was erected by Gaechung, a disciple of Beomil as a branch of Gulsan-sa, it is fair to assume that the Vairocana image at Boheon-sa might have been closely related to the Buddhist images at Gulsan-sa in its style and iconography. The stone seated Bodhisattva from Hansong temple-site(寒松寺址) displays a benign face, exquisite necklace, and exotic iconography in its hand gesture and high cylindrical crown. The stone seated Buddha at Cheonghak-sa(靑鶴寺), brought from a temple-site where fragments of roof-tiles with the inscription of Heukam-sa(黑岩寺) were discovered, displays the late Silla and early Goryeo period. Heukam-sa seems to have been related to Gulsan-sa or have been one of the branches of Gulsan-sa. Extant fragments of artworks at Myeongju implicate the high quality of Buddhist art of Gulsan-sa in its iconography and style as well as unique features of Gulsan-sa Seon School.