• 한국실내디자인학회논문집
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• 제19권6호
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• pp.91-99
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• 2010

There is a commonality between Frank Lloyd Wright and Charles Rennie Mackintosh in that they created the new patterns of geometric Art Nouveau from the late 19th and early 20th centuries. This study compares the furniture of Wright and Mackintosh who had significant impacts on the development of modern design for each of the periods divided by their design feature to find the individualities and similarities of their design. It is an analytical approach with an accurate understanding of the design trends of the Art Nouveau era. The results of the furniture comparison are as follows: The finding is that Wright and Mackintosh designed creative furniture in harmony with a specific indoor space, Organic design was well expressed through the selection and use of wooden materials, Based on the understanding of tree characteristics, they did not use detailed decorations, but designed the simple and rigorous forms of furniture with highlighted interest in geometry. As for shape, Wright's furniture in his early days tend to be look largely formal and heavy. Since his debut in Japan in 1905, the furniture design became very sophisticated. On the other hand, Mackintosh's chairs are characterized by plenty of geometric patterns and long back. In many cases, his chairs were designed as part of formative elements in space, not for the purpose of furniture itself. As for materials and colors, Wright used mainly cherry wood. And he also utilized metals colored in olive green, red-brown and others for office furniture. The frames, fabrics and leather used for most of the furniture have natural colors, which are harmonious with spaces. Meantime, Mackintosh used primarily oak and ash trees. He used seat cushions and various colors to make the design of furniture have a sophisticated and simple image. The materials used for seat panel are horsehair, rush, silk and leather. He applied these materials to the furniture by weaving or cutting them.

• 한국콘텐츠학회논문지
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• 제11권6호
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• pp.185-196
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• 2011

본 연구는 팝아트를 활용한 레트로디자인 작업 시 어떻게 컨셉을 표현할 수 있을까를 이론적 고찰과 사례로 조사하고 작품제작에 응용할 수 있도록 제안하는 것을 목표로 진행하였다. 사례조사 결과 대중적인 이미지를 반영한 컨셉과 대중의 영웅을 표현한 컨셉에서는 팝아트의 특징을 단순하게 재현하였고, 정치적 삶에 드러난 상처를 표현한 컨셉은 조사된 사례가 없었다. 디자인의 각 영역에 대한 사례의 가장 큰 특징은 팝아트의 이념보다는 팝아트의 표현양식에 주로 치중한 점을 알 수 있었다. 원색을 사용하여 밝고, 경쾌한 분위기로 표현하거나, 반복적인 표현, 컴바인과 콜라주 기법, 실크스크린, 만화, 과장된 오브제로 표현하는 것 등이 다양하게 재현되었다. 그러나 팝아트를 활용한 레트로디자인은 팝아트의 단순한 재현이 아니라 팝아트의 이념과 조형적 재해석이 디자이너의 창의성과 만나 현대적으로 표현되어야 한다. 따라서 글로벌화 되어 있는 미디어나 이미지의 홍수 시대에 대중의 일상에 대한 탐색, 대중의 여가나 오락 및 환상의 결합을 활용하여 컨셉을 설정하고 팝아트의 표현양식을 적용하는 것이 필요하다.

• 한국의상디자인학회지
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• 제17권3호
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• pp.13-27
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• 2015

The purpose of this study is to understand the general process from textile design till fashion design and to understand the relation between the body structure by using the x-ray technique. The research method was to see background of the anatomic feature and human skeletal X-ray projection through historical aspect of publications, the Internet, and paper. In terms of production, in order to present a design that takes into account the unique silhouette of the human body without distorting the shape of the human skeleton, X-ray images that were reconstituted using a computer graphic tool (Photoshop CS) were reproduced into the fabric as intense images through the digital Textile Printing technique that is capable of expressing fine and delicate details, and applied into the design. An original design was developed that emphasized the impression of the human body being projected and the shape of the human skeleton realistically expressed in terms of silhouette and detail. The results are as follows: First, Body has a anatomic formative characteristic and its formativeness becomes as a great motive for the artistic expression and thereby it becomes more unique and available for new design expression. Second, Using the 'body frame' as the motive of the research, there's mainly tried to make an unique expression. Third, according to reconstructing human skeletal X-ray projection by using Adobe Photoshop CS2, it can be expressed strong and unique design. Forth, DTP which is being used as an essential technique, expresses the body frame realistically and being used the special type of functional product and silk. Likewise by discovering the diverse formativeness of our body frame and reflecting the sense of humanity into the pieces there's been able to make and develop an unique fashion design. I sincerely hope there is a hug progress in this research in this area.

• 한국의류산업학회지
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• 제1권4호
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• pp.349-357
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• 1999

The purpose of this study was to examine how deconstruction, which currently had a great deal of influence on fashion, was actually accepted in view of fashion form or material. In order to track the tendency of deconstructional fashion, an attempt to find out what deconstructional methods were used in fashion design for each formative element was made by looking into earlier studies. Then an analysis was made over the recent fashion magazines. As a result of analyzing four fashion magazines, the most distinctive feature was found to be the use of seethrough cloth. In addition, unsymmetrical form also was immensely used. The next most frequently appeared form was layering, followed by slash or making a hole, lingerie look, padded cloth, indeterminate form, wrinkled cloth and patchworked cloth in the order named. The dominant layering style, the most widely used deconstructional fashion, was that inner cloth could be seen through outer seethrough cloth. The most frequently employed deconstructional cloth was seethrough cloth. Rather than complete seethrough cloth, the shape of lace, net or pattern was employed largely, in which the body could be partially hidden. The most largely used deconstructional method was a slash or making a hole. Most slashes appeared on the front part of the body, to which seethrough stuff was attached in many cases. Based on the above mentional finding. 10 kinds of deconstructional design were proposed for each method.

• 한국실내디자인학회논문집
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• 제13권5호
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• pp.21-31
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• 2004

There are probably no architects of the 20th Century who had more influence on modern architecture than Mies van der Rohe and Le Corbusier. Although the two architects share one thing in common, namely, both are master of modernism, each has developed unique architecture of his own. The objective of this study is to investigate the characteristics of their works through a comparison analysis of the Ideas, design principles and architectural language reflected in the works, focusing on the houses. this study will also aim to provide a foundation for a new design that harmonizes the design principles and architectural language of the two. Through the study the following common points and differences were found between the houses of the two. A) Common points: Both architects avoided ornamentation In houses while placing weight on the functions of houses and they tried to plan rational floor plans by separating the wall from the structure. B) Differences: \circled1 The houses of Mies express the structure in a straight forward manner, while those of Corbusier are formative houses focusing more on shapes. \circled2 The shapes of the houses of Mies are limited to basic shapes, quadrangle while those of Corbusier employ various geometric curves. \circled3 Using steel and glass, the houses of Mies are light and transparent. On the contrary, using concrete, the houses of Corbusier are somewhat bulky with Three-dimensional changes. \circled4 The houses of Mies show the value of moderation based upon the classical principles of design, while the houses of Corbusier show the value of moderation based upon geometry. \circled5 The houses of Mies feature horizontal intoners with flexibility. However, Corbusier's houses have vertical interiors with some changes in the cross sections. \circled6 In terms of material, the interiors of Mies' houses employ materials with various tones and textures, while interiors of Corbusier's houses are painted in simple white. Summing up these characteristics, it could be said that the houses of Mies have logical and rational beauty, whereas the houses of Corbusier have more emotional beauty.

• 한국콘텐츠학회논문지
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• 제10권5호
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• pp.220-228
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• 2010

리인커네이션은 불교와 도교의 중심철학인 윤회라는 가치관으로 우리의 생활의식 속에 뿌리 깊게 존재해 왔다. 예술의 보편적 가치인 리인커네이션은 오랫동안 오브제로서의 표현의 대상이 되어져 왔으며 팝아트에 이르러서는 특별한 관심을 받았다. 시각디자인교육에서의 리인커네이션은 교육의 도구(Tool)로서 새로운 기능적 가치를 지니며 특히 디지털디자인 영역에서는 수업의 기본적 재료인 교재로서 필수적 콘텐츠가 되고 있다. 리인커네이션을 활용한 디자인교육은 에듀테인먼트적 특성이 두드러지며, 혁신적인 교육기법이라 주목받고 있는 에듀테인먼트 교육은 학습자에게 유희성과 흥미성을 자극하여 내적동기를 유도한다. 리인거네이션이 갖는 정서적 흥미와 인지적 흥미는 학습의 능동적 활동으로 이어져 창의성을 향상시키는 궁극적 목표에 도달하게 한다. 물질의 환생을 전제로 한 리인커네이션 교육은 물질의 재활용, 재사용이라는 단순한 지속성을 넘어 사물에 대한 본질과 철학적 가치를 이해해야하며 이러한 연구와 교육활동들이 수반되었을 때 디자인교육의 창의적 아이디어를 기대할 수 있다.

• 한국의류학회지
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• 제35권10호
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• pp.1188-1198
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• 2011

This study proposes the use of firework shapes to design fashion accessories in the judgment that they are appropriate for the expression of creative images in consideration of the display of fireworks as a kind of entertainment and a festive symbol. This study promotes the sustainable application of firework shapes to develop the designs of fashion culture items that feature a distinctive personality and uniqueness. In this present study, the proposed fashion accessory design was intended to create an entertaining new atmosphere that uses an Organic Light Emitting Diode (OLED) that draws attention as a futuristic display. In terms of methodology, a literature review of firework shapes and OLED was conducted; in addition, Adobe Illustrator CS2 and Adobe Photoshop CS2 were used to develop six different standard motive designs with formative design elements represented by a variety of firework shapes. Each of the six motifs was further expanded with different color combinations. Rich images are produced with the use of pink, blue, purple, green, yellow, orange, and red, in conjunction with various OLED effects to express the three-dimensional images of fireworks. The motifs are applied to three types of items: bags, bracelets, and necklaces. For the video images, evening and tote bags, pendants, and bangles were used. Shifting images and lights should produce unique images as well as satisfy the consumer desire for entertainment. The Adobe Image Ready software was used to present the motive of fireworks applied to the design of fashion accessories in video images but not in still-cut images due to physical constraints of this paper.

• 패션비즈니스
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• 제15권6호
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• pp.163-175
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• 2011

This study tried to improve the design of the symbol mark for the fashion industry and effectively publicize the brand image of a small fashion accessory company through a powerful visual communication strategy. For this purpose, this study performed research and an analysis of the features of existing fashion accessory companies as well as the current status and features of their utilization of symbol marks for the enhancement of the brand's image. Total 48 fashion accessory brands focued on jewerly were selected from the Dictionary of Fashion Brand and the types of symbol analyzed the concepts and formative aesthetics of the symbol mark design in each brand. Based on the data, this study designed the fashion accessory company's logo and a new symbol mark design. It makes full use of the characteristics of the logos and the symbol mark that reflect the most critical issues of fashion accessory design so as to promote the consumers' level of product recognition as well as the product symbol characteristics. In the case of combining characters with concrete objects, they were found generally to use objects that give elegance, cute and feminine images, such as rings, hearts and small pets. Moreover, colors in the series of black/grey seemed to be used to convey the concept of accessory brands that pursue modern, sophisticate, and practical images. As these design plans, enhancement of the consumers' level of recognition of the brand is attempted as well as the execution of an effective publicity of the feature of the product through the use of the logo and symbol marks reflecting the features of the fashion accessory, instead of simply introducing the brand or product. The result of this study indicates that methods to design brand symbol marks for clothing should be incessantly sought in a way to build brand power as an important component to represent concepts and reinforce brand image.

• 한국전통조경학회지
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• 제35권1호
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• pp.36-47
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• 2017

신흥유학 성리학을 바탕으로 조영된 조선시대 별서원림인 소쇄원과 중국 송대 성리학 생성기(生成期)에 조영된 창랑정을 비교 고찰하여 원림문화의 조영사상과 구성요소의 의미론적 해석에 관한 결과를 요약하면 다음과 같다. 첫째, 소쇄원은 한국 별서원림 중에서도 성리학사상을 오롯이 구현하였으며, 중국 창랑정은 현재까지 잘 보존된 가장 연원이 깊은 중국의 사가원림으로서, 조영 시기는 소쇄원보다 약 500년가량 앞서며 조영자인 소순흠 또한 송대의 사대부로서 창랑정 조영배경에는 성리학이라는 뿌리 깊은 사상이 자리 잡고 있다. 둘째, 소쇄원과 창랑정 두 원림 모두 은일사상(隱逸思想)에 뿌리든 둔 자연친화(自然親和)성향이 두드러진다. 특히 소쇄원은 산림에 입지한 형태로 은일(隱逸) 중에서도 '소은(小隱)'이며 창랑정은 도시에 입지한 '중은(中隱)'으로 해석할 수 있다. 셋째, 소쇄원과 창랑정의 명명(命名)에 상징의미가 배태된 원림요소들을 비교분석하면, 소쇄원은 자연합일(自然合一)된 원림으로서 유불선(儒佛仙)의 다양한 사상들이 습합되어 발전된 중국 송대 성리학 사상이 원림조영에 깊숙이 내재되어 있으며, 현재 창랑정에서 발견할 수 있는 다양한 상징요소들의 의미해석의 밑바탕으로 작용하고 있다. 넷째, 사상적인 변화는 반드시 원림의 형식적 양식이나 요소들에 체현(體現)됨으로 원림요소를 비교분석하였다. 이를 통해 소쇄원은 최대한 자연을 활용함으로써 최소한의 인공을 가미하여 조영된 원림임을 알 수 있다. 즉 자연환경과 인문환경을 결합함으로써 공간의 의미적인 특징을 표출하고자 하였다. 그 대표적인 예로 소쇄원의 대봉대는 조영자의 이상을 표현하는 장소이며, 창랑정은 높은 담장 내에는 원내의 경치가 새롭게 창출되고 속세와의 단절감을 둔 채 재현된 자연을 구축함으로써, 창랑정은 가산 위에서 주변의 가경을 관조하며 삶을 성찰하는 공간으로서의 장소성이 감지된다. 한국과 중국은 같은 문화적 뿌리를 가졌음에도 불구하고 원림의 양식이나 성격에서는 다양한 차이를 드러내고 있다. 이는 사회적, 문화적 배경이 각 민족의 특성과 결합하여 원림을 형성하였고, 상이한 결과를 나타나는 것으로 해석할 수 있다.

• 한국콘텐츠학회논문지
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• 제8권3호
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• pp.86-96
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• 2008

문자 일반의 체계적 발전의 토대는 기능성과 구조적 측면에서의 조형적 가치에 대한 인식으로 판단된다. 모아쓰기의 원리는 한글 타이포그래피의 핵심이라고 지칭할 수 있으며, 여기에 기능성과 조형성이 깊숙하게 자리잡고 있음을 판단할 수 있는데 이는 다양한 외부요인에 의한 조형적 변화는 물론 한글만의 특수한 자형결합의 원리로 인해 낱글자 내에서도 자음과 모음이 결합되어 공간구조가 발생하고 단어, 글줄, 단락으로 추가 결합되면서 이에 상응하는 제2, 제3의 공간 구조적 특성이 만들어지고, 이는 곧 타이포그래피의 핵심기능인 가독성에 지대한 영향을 미치게 된다. 이러한 맥락에서 볼 때 한글타이포그래피의 공간 구조적특성은 매우 중요한 요인으로 지적될 수 있는데, 우선 형태심리학적 시지각 법칙과 연관지어 검토하고, 이에 따른 네모틀 활자와 탈네모틀 활자를 비교하였다. 그리고 같은 문장의 글을 네모틀 활자와 탈네모틀 활자에 적용시키고 실험을 통해 기능성 즉, 가독성과 판독성을 검증하였다. 따라서 연구자는 한글 타이포그래피에서 공간 구조적 특성이 기능에 매우 많은 영향을 미치고 있는 것을 추출해 낼 수 있었으며 향후 디자인 관점에서 한글타이포그래피의 공간 구조적인 조형성은 커뮤니케이션의 기본개념인 소통과 유기적 관계를 형성함으로 조형적 원리에 입각한 한글 타이포그래피는 디자인뿐만 아닌 커뮤니케이션 환경에서 매우 중요한 요소임을 확인할 수 있었다.