• 한국의류산업학회지
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• 제15권5호
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• pp.682-693
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• 2013

Camouflage is evaluated by scientific principle in the fields of biology, military science, and art. It has a strong influence on contemporary fashion and means exposure with concealment. This study analyzed the visual characteristics of camouflage patterns in fashion design through documentaries and fashion photos. The fashion design results areas follow. The simple blending of a disruptive motif indicated an inaccurate repetition of a disruptive motif, the discontinuous or continuous connection of disruptive motif, the irregular repetition of a disruptive animal silhouette, the collage of a different disruptive motif, the craft of a disruptive motif and the intensive color match of a disruptive motif. It represented the maximization of complication, fantastic and fanciness. The overlap of a disruptive motif showed the overlap of disruptive print patterns with transparency and an overlap of different fabrics with a disruptive pattern. It represented spatial relationships of three dimensions as well as the maximization of visual illusion and the reinforcement of attractiveness. The blurring of a disruptive motif showed the pointage of disruptive motif, the pointage of image, value gradation, the whole blurring of a disruptive pattern cluster and stained appearance. It represented the obscurity of motif form, the uncertainty of object and double meaning. The trompe l'oeil of a partial background object showed the realistic and the painterly imitation of color and texture for partial objects through a close-up. It represented amazement and pleasure by illusion, scarcity and the decoration of surface and synecdochical remind. In conclusion, camouflage in fashion was weakened and modified from a classical military context by a unique expression of various motifs.

• 문화기술의 융합
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• 제4권1호
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• pp.231-236
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• 2018

꽃은 인간의 표현 욕구를 가장 아름답게 표현하는 자연의 소재 중 하나이다. 최근에는 이러한 꽃을 상품에 다양하게 응용해서 미적 가치를 높이고 생명력을 표현하는 예술적 소재로 사용하고 있다. 본 연구는 시각적으로 아름다운 형태를 가진 꽃과 우리 일상생활에서 사용하는 다양한 상품과의 융합을 통해 시각적으로 표현하고자 하는 조형성을 연구하였으며 다양한 상품에 응용된 꽃문양 모티브의 사례를 살펴보고 디자인의 요소와의 상관관계를 연구하였다. 이를 바탕으로 소비자에게 만족을 주는 감성디자인의 중요성과 새로운 디자인 표현기법을 연구하고 디자인 요소로 평가한 연구결과를 통해 꽃의 활용 가능성을 제시하고자 한다. 또한 상품의 일반적인 디자인 관점에서 벗어나 자연스러움과 독창적인 디자인 감각으로 상품의 심미적 가치를 추구하고 꽃의 이미지를 이용한 표현장식을 바탕으로 다양한 상품에 꽃 모티브를 접목시켜 디자인 감성을 표현하는 감성 상품디자인 개발의 가능성을 제시하고자 한다.

• 건축역사연구
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• 제3권1호
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• pp.161-172
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• 1994

This is part of a study on the origin of modernist forms and settings. Forms in Modern Architecture are totally new as though they seemed to be originated from some remote culture. Archaeological studies and Laugier's primitivist attitude to the classical architecture provided a way leading, in the end, to pure structures and abstract forms. An application of the classical elements was combined with the ultimate image of nobility, simplicity and rationality. What the seventeenth and eighteenth century theorists realized in the ruines of the classical structures were not the ones with their original organic vitality but the deteriorated, naked and abstracted ones. The essence of the classical structures has been the one of the main references of the modern white architecture. Ration and Nature were the quintessential terms in the design process of the Enlightenment architects of the late eighteenth and nineteenth centuries as they were in the twentieth century architecture. Pure geometric and symbolic forms were new inventions for the new revolutionary age after the development of architectural Styles, successive until Baroque and Roccoco, ceased to go on to the next phase. Many of their buildings appeared so modem in character, for they were omitted all but the essential structure and decoration. Other sides of rationality in the pre-modern age were evolved in terms of the paradigmatic research and the logic in structure. Durand developed a systematic typological approach to the forms. Geometry was the basis of his designs and his illustrations resembled endless simple geometrical problems. One of the other rational approaches was mainly developed by Viollet-le-Duc. To him, Gothic architecture was the model in which each members functioned actively and exerted counterpressure and the Middle Ages invented new fantastic forms. The several ways of rational approaches in architecture were led to the 'tabula rasa' planning in modern architecture. Nature was remained untouched and not deformed as Ledoux's houses in the $H{\hat{o}}tel$ de $Th{\acute{e}}lusson$ were setted on informal gardens. It is part of the modem image that Nature flows or interpenetrates through the white prisms of the strictest classical purity and machines.

• 건축역사연구
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• 제17권5호
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• pp.23-37
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• 2008

Hyeunryungwon is a tomb for Crown Prince Sado, who was the father of King Jeongjo, the twenty second king of Joseon dynasty. The tomb had been originally in the Eastern part of Seoul, but was relocated in 1789 to the downtown Suwon, which was renowned as a good tomb site among the Royal family at that time. King Jeongjo looked through the records from the previous generations for the ideal location and direction for the tomb. He personally studied Feng Shui theory and designated its location and direction. He ordered for lavish decorations for the stone adornments of the surroundings of the grave mound, which was against the regulations of the royal family. He found his reasons in the precedent that allowed sumptuous decoration. However, for the arrangements of Jeongjagahk(T shaped building) and other attached facilities, he made unusual choice that other precedent royal tombs did not have. Instead of following the conventions that Jeongjagak should be facing south of a grave mound, he put it on the right side of grave mound. Also conventionally, Subokbang(a place where guards can stay) and Suragan(a kitchen that prepares food for sacrificial rites) should be facing symmetrically, but they too, were on the same side with Jeongjagak. It was a measurement that the grave mound of Hyeunryungwon can have a full view without being obstructed by other facilities and it was also personally ordered by King Jeongjo. The distinguishing features of Hyeunryuwon was motivated by King Jeongjo's filial affection, and his academic pursuit of precedent royal tombs initiated the unconventional and innovative challenges.

• 한국조리학회지
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• 제21권1호
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• pp.116-128
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• 2015

본 연구는 부산 경남권의 호텔레스토랑을 방문하여 이용 중인 고객을 대상으로 식공간 연출이 고객감정반응을 통해 고객 행동의도를 높이는지의 간접효과 및 고객감정반응의 매개효과를 검증하여, 지속적으로 호텔 레스토랑을 방문할 수 있는 마케팅 전략의 기초 자료를 제시하고자 하였으며, 식공간 연출은 고객감정반응을 통해 행동 의도에 긍정적인 효과를 미쳤으며, 식공간 연출과 행동의도 간의 관계에서 고객감정반응은 부분매개효과를 가지는 것으로 나타났다. 이를 통해 파악할 수 있는 시사점은 다음과 같다. 첫째, 호텔 레스토랑을 찾는 고객이 다시 찾거나, 다른 사람에게 홍보할 수 있는 행동을 유도하기 위해서는 기본적으로 레스토랑의 식공간이 미각적, 시각적, 청각적, 촉각적, 후각적으로 좋은 연출이 이루어질 수 있도록 전략을 수립하여야 할 것이다. 둘째, 호텔 레스토랑의 식공간이 미각적, 시각적, 청각적, 촉각적, 후각적으로 좋은 연출이 이루어질 수 있기 위해서는 고객의 감정이 즐겁고, 설레이며, 분위기에 끌려야 하고, 분위기에 압도 당하는 기분이 들어 놀라움을 느낄 수 있도록 해야 한다. 셋째, 고객의 긍정적인 감정 반응을 끌어올리는 식공간 연출은 호텔레스토랑을 다시 찾고, 홍보하는 행동 유도를 극대화 할 수 있다.

• 복식문화연구
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• 제20권1호
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• pp.36-48
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• 2012

This study intends to provide fundamental data to develop creative high-value designs, proving that the cut-out technique, a decorative element of fashion design, can be used to express various visual effects. The author performed a literature review of such publications as Gap Press, Fashion News, and Mode & Mode from 2001S/S to 2010S/S, referring to Internet data to empirically analyze the cut-out technique in contemporary fashion. The study found that the cut-out design is effective overall, but is best suited for one-piece designs and for partial rather than whole items of clothing. The basic motif of the cut-out is a geometrical pattern based on a line, a tear, or is shapeless. The cut-out design is mostly shown as an overall pattern or as a symmetrical shape. Analysis shows that the characteristics of the contemporary fashion utilizing the cut-out technique are as follow: First, the cut-out technique exposes the curves of a woman's body in a direct or indirect way, thereby emphasizing her sexuality and maximizing the value of female beauty. Second, through the cut-out technique, we can highlight the various types of space formed by the technique and repeated patterns; we may also elaborate on single-patterned laser-cut designs, which will show that the particular surface effect of the material can strongly impact the attractiveness of the design through emphasis and decoration. Third, damaging or destroying clothes on purpose, showing surprising concepts through optical illusions, and expressing humor by ignoring existing clothing styles show our willingness to escape from traditional or obvious design ideas, as well as demonstrating individuality and playfulness.

• 한국식품과학회지
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• 제37권4호
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• pp.603-610
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• 2005

대추 추출액의 첨가량을 달리하여 제조한 식빵의 제빵적성에 요구되는 빵의 품질특성을 조사하였다. 빵의 내부색도에서 L값은 대추 추출액 첨가량이 증가할수록 유의적으로 감소하였고 a값과 b값은 증가하였다. 빵의 텍스쳐를 측정한 결과 대추 추출액 70% 첨가구까지는 큰 영향을 미치지 않았으나 100% 첨가구에서는 경도, 저작성, 검성에서 유의적인 증가를 보였다. 관능검사에서는 빵의 색상, 향미, 맛, 전반적인 기호도에서 대조구와 비교하여 대추 추출액 50% 이상 첨가구는 첨가량에 따른 유의적인 차이를 보이지 않고 높은 점수를 얻었고 조직감에서도 대추 추출액 첨가량이 증가할수록 높은 관능점수를 보였으며 70% 이상 첨가구는 더 높은 점수를 얻었다. 따라서 식빵 제조에 있어서 대추 추출액을 물 대용으로 50-70% 수준으로 첨가했을 때 빵의 품질향상에 도움을 줄 것으로 생각되며 대추의 기능성물질을 함유한 천연소재로서의 활용 가능성을 확인하였다.

• 한국의상디자인학회지
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• 제9권3호
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• pp.115-132
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• 2007

The purpose of this research is that to study of musical performer's purchasing behavior, satisfaction and design preference, and to give the information for better performance costume market based on that result. The target for the survey is limited only for above 4th grade female students and have experienced more than three times of performances. Total 364 questionnaires are used for this research. The SPSS was used for the analysis. The results were, first, in the survey of place of purchasing, specialty shop for musical performance shop was the most. The most group for the budget that they spent was under 100,000 Won. Rational price for costume would be 150,000-300,000 Won. Most people purchase costume before 2 weeks and compare 3-4 stores mostly. There were not many complaints about being comfort for costume itself. The preference for costume was different depends on not only scale of performance but also whether solo, duet or trio or more. Also harmony with other person costume was most consideration factor when they perform duet or more. For the choice of shop factor following were considered the most important; various selections, kindness of sales persons and possibility for trying various costumes. However, locations of shop or delivery service were not important relatively. For the choice of costume factor, design color, comfort and functionality were considered the most important but price, quality and decoration were not. For 'the satisfaction after purchase costume' factor, people's opinions, best appearance on the stage and meeting image with themselves were considered the most important. Second, on the subject for 'design preference of costume based on type of performance', people chose different color of dress depends on what types of performance. In case of solo, they prefer vivid primary color; in case of trio or more, they prefer black; in case of duet, they prefer pastel tone. As for preference of sleeve design, all of them prefer non-sleeve type.

• 한국의상디자인학회지
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• 제16권4호
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• pp.117-136
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• 2014

The purpose of this study is to present a classification system of the hand-made and machine-made lace according to the configuration method and re-make the category and definition of lace to consider the emergence and development of major laces techniques. The re-made category and definition of the lace is as follows. The lace usually consists of ground and motifs, however, the techniques of netting and sprang are suitable for making ground than motif, so I think it is appropriate to exclude them from the category of the lace. Many scholars are excluded openwork embroidery fabric from the category of the lace. But, an openwork embroidery fabric is the basis of a needle point lace called true lace and is consist of motif and ground. I think it is appropriate to include it in the category of the lace. I think it is also appropriate to include in the category of the lace that the eyelet embroidery fabric which mimics the openwork embroidery fabric in the machine. Lace is redefined that a fabric with openwork decoration consists of motif and ground, constructed by a variety of ways such as plaiting, twisting, looping, knotting of threads or embroidering by hand or machine. The classification of the lace is presented as follows. Hand-made lace is classified bobbin lace, needle point lace, embroidery lace, knotted lace, crochet lace, and knitting lace. Machine-made lace is classified raschel lace, leaver lace, torchon lace, and machine-made embroidery laces which include tool lace, eyelet embroidery lace, chemical lace, etc.

• 대한가정학회지
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• 제48권1호
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• pp.97-110
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• 2010

The purpose of this study was to identify development strategies of high value-added cultural products in order to help promote Jeonnam cultural tourism festivals. In order to achieve this purpose, we carried out a market survey of cultural products sold in cultural tourism festivals held successfully within the Jeonnam area.The subjects of this study were local festivals which were labeled as cultural tourism festivals by the Ministry of Culture, Sports and Tourism from 2000 to 2008. The results of this study were as follows: Firstly, a store survey was conducted to analyze the categories of products on offer. As a result, the most frequent product was accessories (46.2%), followed by clothing and miscellaneous goods (25.2%), ceramic products (14.8%), interior decoration products (9.1%), and stationery (4.6%). Secondly, in the design motif used for cultural products, most products did not contain festival or local images. Cultural products with festival images made up 47.2% of the range, while only 2.3% of products on offer contained local imagery. The remaining 50.3% of cultural products for sale did not use festival or local images. Finally, in terms of materials used, most products used metal (36.7%), followed by textiles (32.9%), ceramic (13.8%), wood (6.2%), plastic (6.2%), paper (3.6%), and leather (0.2%). For price range, 52.4% of product were equal to or below 10,000 won, followed by 33.1% between 10,000-30,000 won. The results of this study showed that the cultural products of Jeonnam festivals lacked symbolism of the region or festival itself. Furthermore, items and the price ranges were not diverse enough. A possible solution would be to address this short coming, but more importantly, design a marketing and commercial strategy tailored towards the promotion of cultural products which contain both regional and festival imageries.