• 자연과학논문집
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• 제4권
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• pp.221-231
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• 1991

We have thought artistic charactics of modern form is abstract expression and purity and unity sight. Specially, modern sculpture form has strict geometrical form as showed in primitive art. In this circumstances, modern costume has stylized more artistic form in pure sight. Artistic characteristics showed in those collections are picturesque in material and sculpture in shillouette. Picturesque material pointed in decoretive function and simple shillouette pointed in sculpturesque body in modern costume.

• International Journal of Costume and Fashion
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• 제7권1호
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• pp.11-21
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• 2007

In this study, we will analyze the artistic character of Jogakbo as a element of fashion art design. Korean traditional Jogakbo is a common homemade item made from clothing remnants and is a part of the culture of women�s quarters. Currently, Jogakbo is higly regarded for its artistic value and it finds a variety of uses in fashion. In particular, it is striking how its modern-style geometric lines and color composition are congruous with abstract art. In applying Jogakbo to fashion art design, we study the artistic expression of Jogakbo in 4 aspects; namely, line, color, material, and technique; and analyze the 4 artistic characteristics; beauty of naivety, simplicity, moderation and freedom. 8 dresses designed based on these 4 characteristics are presented as examples.

• International Journal of Advanced Culture Technology
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• 제11권3호
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• pp.199-204
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• 2023

"New Dimension Art" is an artistic concept of the new era that the author puts forward by combining the background, the artistic environment and the artistic market.It relates to the consciousness of thought, the way of feeling, the form of expression and even the style of language in artistic creation.The author expounds this concept of art.At the same time, this paper deeply studies the characteristics of "new dimension art" by analyzing personality and commonality, as well as the creator's personality transformation.The author hopes that he and more artists can create and express more accurately through this concept, so that his works can fully reflect the author's individual characteristics and release more dimensional field energy. We are confident that this paper will affect the area of painting in the future.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2002년도 가을학술발표대회 디자인학 연구
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• pp.20-21
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• 2002

• 한국의류산업학회지
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• 제16권6호
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• pp.835-848
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• 2014

This study investigated the relationship between inner characteristics manifested through the characteristics of artistic styles and formativeness manifested through external expressions of architectural styles in the early Medieval Period and early Renaissance Period. The method applied to this study is as follows. First, a historical document research was conducted centering on academic theses, related books, and academic databases; in addition, a case study identified the aesthetic characteristics of women's clothes. The conclusion of this study is as follows. First, the following is the analysis of the relationship between the artistic mode and architectural formativeness in the early Medieval Period and early Renaissance Period that represent a turning point in artistic paradigms. Second, the inner characteristics and eclecticism of the artistic mode literally appear in the formativeness of architectural style in the early Medieval Period, and the eclecticism in the architectural style appears to be expressed through a combination with new styles based on the application of the retro mode such as the eclectic adoption of cultural styles of various regions based on the tradition and technology of ancient Rome. Third, the trend of the aesthetic characteristics commonly appear in the modern style of expression related to the aesthetic characteristics of western women's clothes in the early Medieval Period; in addition, the early Renaissance Period was analyzed as decorativeness and respectively manipulability.

• 디지털융복합연구
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• 제13권8호
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• pp.457-463
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• 2015

이미지 왜곡 분야는 공학 및 예술 분야에서 다양하게 연구, 응용되어져 왔다. 본 연구는 이미지 왜곡에 관한 공학기술을 이용하여 예술적 감성을 표현하기 위한 연구이다. 이를 위해 먼저, 이미지 왜곡의 예술적 표현에 대한 미학적 해석을 살펴본다. 또한 자기력을 이용한 이미지 왜곡이 예술적 표현방법이 될 수 있으며, 사용자 몰입요소를 포함하고 있음을 설명한다. 그리고 실제 Unity3D 엔진을 이용하여 구현을 보여줌으로써 자기력 기반의 이미지 왜곡이 예술적 표현의 이미지 왜곡으로 사용될 수 있는 가능성을 보여준다. 본 연구는 과학기술과 예술의 융합을 통한 창조적인 감성콘텐츠의 제작과 개발에 도움을 줄 수 있다.

• 한국멀티미디어학회논문지
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• 제16권9호
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• pp.1119-1133
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• 2013

These days there is a flow of support for returning to design and handcraft, and the arts and crafts ideas of William Morris have an influence until the present over periods. The semanticity and methodology of guild production method supported by William Morris is studied. The foundation that human is in beautiful harmony with nature is on free labor and artistic life. In the organic relationship, the decline of art is understood as general crisis of culture, and human living condition should be changed in order to rouse the human sense of beauty and comprehension of art. Once human labor becomes artistic, the consumption living and local living become artistic as well. And then consumers desire more artistic works, structures, or urban spaces, and the demands for those move artificers to go toward producing more artistic works and structures. That is, the course of succession of art and culture through living is the driving force of social progress. Even if the period when Morris lived and the present are very different, this paper will shows that a large amount of art and culture will be greatly developed in twenty-first century which is 'the period led by cultural consumers', and the people directly creating art works will be also increased at the same time, as Alvin Toffler suggested. Furthermore, we can aware through this paper that such the people will rule the world. Finally it reached the period that we must face to 'making artistic life' as Morris expected a century ago. According to the result of this paper, we realized the study about Morris will contribute greatly to improve the quality of human life.

• 영재교육연구
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• 제26권1호
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• pp.123-140
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• 2016

본 연구는 초 중학교에 재직 중인 미술교사들을 대상으로 미술영재의 관찰 평가 도구 개발에 대한 인식을 조사한 연구이다. 조사 결과, 현장의 초 중학교 미술교사들 사이에는 교사의 관찰 평가에 의한 선발 방식이 미술영재성을 보다 적절히 평가할 수 있는 중요하고도 유용한 방안으로서 폭넓게 인식되고 있으며, 미술 분야에서 교사 관찰 평가 도구를 활용할 경우 평소 선호하는 학생에게 더 유리할 수 있다는 점을 우려하고 있는 것으로 나타났다. 또한 교사 관찰 평가 도구와 관련된 현장 교사의 연수가 매우 미진하지만, 미술영재의 행동특성 체크리스트와 미술영재의 과제수행 과정의 특성을 평가할 수 있는 미술영재 과제수행 검사를 가장 중요한 도구로 인식하고 있다. 따라서 미술영재성 판별의 타당도를 제고하고 평가의 신뢰성을 제고하기 위해서는 미술 분야에서도 미술영재의 행동특성과 미술영재의 과제수행 과정을 평가할 수 있는 객관적 검사 도구가 개발되어야 할 것이다.

• 한국콘텐츠학회논문지
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• 제6권11호
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• pp.161-171
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• 2006

색채는 시각이미지 표현의 중요한 조형요소로서 그 표현력이 증대되고 있다. 그러나 색채의 가변적인 특성과 함께 화면 내에서 조응하는 다른 조형요소와의 관계성은 색채의 효과적인 표현을 어렵게 한다. 디즈니사에서 제작된 <뮬란>과 <라이온 킹>에 나타난 그림스타일은 색채사용에 있어서 상당한 표현상의 차이가 있다. 두 작품의 색채사용에 대한 차이점과 그 원리를 규명하여 색채를 적절히 활용할 수 있는 방안을 세우고자 한다. 연구 방법으로는 색채가 가지고 있는 표현적인 특성을 다른 조형요소들과의 관계 속에서 어떻게 활성화시킬 수 있는가의 문제에 초점을 맞추었다. 결론적으로 색채는 빛의 속성 중 하나이지만 빛의 또 다른 속성인 밝고 어두움, 즉 콘트라스트(contrast)에 가장 큰 영향을 받는다는 것이다. 이것은 조형의 질서를 구축하는데 우선적으로 고려해야 할 사항 중 하나이다. 따라서 색채의 표현적인 특성을 강조하기 위해서는 다른 조형요소들과의 관계를 조절해야 하고 특히 명도와 형태의 표현적인 힘을 약화시켰을 때 가능해 진다.

• International Journal of Advanced Culture Technology
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• 제10권3호
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• pp.174-183
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• 2022

The abstract should summarize the contents of the paper and written below the author information. Use the word "Abstract" as the title, in 12-point Times New Roman, boldface type, italicized, centered relative to the column, initially capitalized, fixed-spacing at 13 pt., 12 pt. spacing before the text and 6 pt. after. The abstract content is to be in 11-point, italicized, single spaced type. Leave one blank line after the abstract, and then begin the keywords. All manuscripts must be in English. When it comes to the issue of "virtual and real" in traditional Chinese painting, the first impression is to describe the problems of painting strokes and ink, layout of pictures, etc., but it runs through the initial conception of the work, creation in the middle and aesthetic appreciation of the work. It exists in the whole process of artistic creation and appreciation. In essence, it is a problem of aesthetic thinking and philosophical thinking. Because the traditional Chinese painting theory is influenced by Taoism, when the concept of "virtual and real" is implemented in the specific picture of Chinese painting, it is contained in the specific shape of "physics", that is, the painting theory research of "blank space" in the picture. Based on the traditional Taoist philosophy of China, this paper takes the "virtual and real" view in Lao Zhuang's thought as the research object, deeply analyzes and compares its relationship with the "virtual and real" in Chinese landscape painting, and finds out their artistic spirit, essential characteristics and how to present them. This paper mainly discusses the internal relationship between Taoist philosophy and "virtual and real" in Chinese landscape painting from the following aspects. The introduction expounds the origin, purpose, significance, innovation and research methods of the topic. This paper analyzes the philosophical thoughts about landscape in the philosophical thoughts represented by Lao Tzu and Zhuangzi. The development of Chinese traditional aesthetics theory is closely related to Taoist philosophy, which has laid the foundation and pointed out the direction for the development of Chinese painting theory since ancient times. It also discusses the influence of the Taoist philosophy of "the combination of the virtual and real" on the emergence and development of the artistic conception of landscape painting. Firstly, through the analysis of the artistic conception of landscape painting and its constituent factors, it is pointed out that the artistic conception is affected by the personality and the painting artistic conception. Secondly, through the Taoist thought of "the combination of the virtual and real" in landscape painting, so as to reflect that it is the source of the artistic conception of Chinese landscape painting. It is the unique spiritual concept of "Yin and Yang" and "virtual and real" that creates the unique "blank space" aesthetic realm of Chinese painting in the composition of the picture. Finally, it focuses on the "nothingness" in Taoist philosophy and the "blank space" in Chinese landscape painting. The connotation of the "blank space" in Chinese painting exceeds its own expressive significance, which makes the picture form the aesthetic principle of emotional blending, virtual and real combination and dynamic and static integration. Through the "blank space", it deepens the artistic characteristics of the picture and sublimates the expression of "form" in Chinese painting.