The interlacing technique has a long history of use as a means of creative expression and persists in modern society to satisfy the individual pursuit of pastimes. This method has the developmental potential to create new trends in the future. Interlacing techniques (e.g., basketry, plaiting, braiding, and knotting) are closely related to plastic arts fields, architecture, art, and industrial design where the various interlacing practices are applied. This research uses case analysis to study the types of expression found in the formative art field wherein the interlacing technique is applied. Results reveal several expressions, including optical illusion visual type, relief surface type, porous perspective type, and object borrowing type, all of which appeared in fashion bags. The aesthetic formativeness, which appeared in the fashion bags that applied interlacing techniques, was then classified according to geometric formative beauty in a process based on rules and order. Nature-friendly formative beauty reflecting handicraft locality and omnidirectional formative beauty by disordered deconstruction and heterogeneous combination were determined. The use of interlacing techniques that show creative, unique combinations and variations is expected to inspire the development and application of bag design that suits individual and original modern fashion trends. One limitation of this thesis is that it only studied cases appearing in modern fashion bags.

The purpose of this study is to contribute to the role of lines in creative design development by analyzing the expression types and aesthetic characteristics of modern fashion using geometric formativeness of symmography. A literature study was conducted of works since 2009 to examine the general consideration of lines together with analysis of the concept and characteristics of symmography in the formative arts field, and to analyze the expression types and aesthetic characteristics of modern fashion design using the formativeness of symmography. The infinite sense of formativeness and original expression of symmography are used in formative arts such as space design, installation art, and industrial design. Expression types of modern fashion design using geometric formativeness of symmography can be classified into the following three types: two-dimensional graphic pattern, relief surface, and threedimensional spatial. First, the two-dimensional graphic pattern type forms an optical pattern, providing individuality and visual interest to the textile design. Second, the relief surface type expresses the plane in various ways, so that the thickness changes according to how lines overlap. Third, the three-dimensional spatial type expands the boundaries of clothing and creates a fantastic spatial beauty. Next, the aesthetic formativeness of fashion design using symmography can be classified into repetitive rhythmicity, geometric self-similarity, and optical spatiality. Symmography enables a myriad of geometric patterns to be developed depending on material, color, and the designer’s imagination, and helps inspire a variety of designs in fashion that sculpt a three-dimensional human body.

The purpose of this study is to provide ideas for the development of bag design by analyzing the expression types and aesthetic formativeness of modern bag design using tassels and fringe given the newtro trend pursuing analog sensitivity in modern society. The methods and scope of this study are as follows. First, the related literature and internet data were reviewed in order to examine the expression types and characteristics of the bags of the West and East. Next, the definition and characteristics of tassel and fringe decoration in terms of the history of clothing were analyzed. Finally, the expression types and aesthetic formativeness of tassels and fringe were derived through the analysis of modern bag design shown in the fashion collections since 2010. The bags decorated with the tassels and fringe bring a variety of visual effects depending on the attachment position, direction and material composition, concentrating the gaze and radiating original style. In this study, the expression of tassels and fringe in modern bag design was classified into three types: surface decoration, shape variability, and object combination. Next, the aesthetic formativeness of modern bag design using tassels and fringe as decorative elements appeared through the mixture of heterogeneous materials and playfulness through imagination, exaggeration through extension of length and volume, and retro characteristics through reinterpretation of tradition. This study is expected to contribute to creative ideas of modern bag design which requires a global sense, which has been used in various cultures for a long time.

Finding the origin of life-centrism in East Asia, especially a longevity, you can find a harmony of the nature and mankind in Ancient Chinese myth and rarity about a idea of afterlife. In Chinese important trend, Confucianism and Taoism, their attitude to life shows a life-centrism. Confucianists' final aim at life is remaning their name in real life, so they don't care about afterlife. They put emphasis on the immortal fame and the happiness, comport in life. Taoists think the lifespan is the absolute objective because they believe the penalty for faults is lifetime shortening. The Ten Traditional Symbols of Longevity is a group of the long life stuff symbolize the longevity. The first record of them appeared in the royal paintings in Goryeo Dynasty. These symbols used in the folding screen, windows and doors in palace and expand to ordinary people because of the development of commerce after the 18th century. After that, symbols have widespread popular support so appear in the folding screen, woodcraft and embroidery. The Ten Traditional Symbols of Longevity describes the hermit's world, it contains the real organisms of sky, underwater and land. Symbols are the combination of objection to life, desire of longevity and transcendence in life. They show us the concentration of real life.

This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. First, western urban chic, Japanese minimalism and domestic modern feminine images all have common modern urban sense and simple designs. However, each image is not a simple image in itself. For example, in the case of western style they often seek to convey a sophisticated and stylish street sense, while Koreans add a more cute, lovely, and feminine touch. Second, western restrained eroticism, Japanese fetishism and domestic mono-bosom images all have a common interest in sex. They is something, however, which they all express this differently. In Japan, they prefer a stimulating image. In the West, however, this is restrained by controlling and limiting overt sexual elements, while in Korea, we seek to capture a more simple sensual beauty. Third, western couture luxury, Japanese orientalism and Korean utopia narcissism have classy images in common including splendid materials and decorations with embroidery. They all differ depending on their nationality. This study is baseds on the documents study. This study is baseds on the documents study.

This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. The domestic formativeness of all styles is divided into three types: modern feminine, mono-bosom, and utopian narcissist image. This study is baseds on the documents study.

The purpose of this study was to research the characteristics of the pattern design and the weave construction of 67 fashion fabrics in women's Hanbok. All the fabrics were made by 100% silk. Arrangement, size, and the type of patterns were investigated for research of the pattern characteristics. Pattern weave and background weave were analyzed, then the weight and the thickness were measured for studying the fabric construction. The results were as follows. First, irregular arrangement was more commonly used than regular arrangement, and then the complex arrangement and the combination arrangement were appeared considerably because of the existence of the various patterns in a fabric. Third, the types of pattern weave construction were much more than those of background weave construction. This is caused by the expression of dimensional effect for patterns. This survey can be practically used for development of pattern design for Hanbok industry and furthermore it will contribute to revitalizing of Hanbok market to overcome design limit in the future.

A bridge is a space used as a passage. This space should be functional, solid, and beautiful. Since the beginning of human life, bridge architecture has given importance to function as a connection from one place to another. Stepping stones in the stream were the connections between divided spaces in the agricultural life, the bridge on the entrances of a town was the place for separation, expectation, and communication for people gathering around the community. Southern Chinese provinces such as Zhejiang, Hunan, Yunnan, and Guizhon is famous for it's spectacular scenary, and tribes like the 'Miao' and 'Dong' live in a cooperate community. The 'Dong' tribe is one of the 'Yue' genealogy where the people have settled down in this place in the days of 'Qin Shi Huang(Qin dynasty)'. As the population of the 'Dong' tribe growed, they used a bridge to connect town to town. The scale became larger with additional design, giving splendid achievement to bridge architecture. The 'Fungyu bridge' in Tongdao and 'Chungyang bridge' in Sanjiang are some fine examples. The Fungyu bridge could be defined as a bridge which blocks wind and rain, this has the same function as the lounge bridge in Taishun located in southern Zhejiang province. In Taishun, 5 minority races such as the 'Dong' and 'Miao' people have been living together as a clan society for centuries on mountains as high as 1000m following their own tradition. The 'Xiliu river' flowing thorough has a variety of bridges remaining in it's original form, and it is recently known as a museum of ancient bridges. The formation of the bridges in Tongdao and Taishun shows that it is different with the arch and straight bridges remaining in Korea. In this study, it is readjusting the base data, showing plan characteristics and describing the construction of the wooden structure above the bridge post.

The Chapel and Exhibition hall of Chul-du-san-Holy place are considered as the most important work of architect Lee Hee-Tai (1925-1980), and as a work representing Korean architecture in 1960's. What is the reason that these buildings can acquire such a remarkable estimation? This study tries to make clear this reason with an analytic method. These buildings are situated in singular site, in which small mountain comes up alongside with Han-river. Architect laid out the Chapel and Exhibition hall to the memory of 108 saints who died for their faith in this mountain, considering the specificity of the site, the direction of approach stair, and the formation of public space. Architect proposes an opposed composition of form for these two buildings. So the Exhibition hall is characterized by trabeated structure, centripetal force and Apollonian order. It has strictly proportioned facade, which is composed of two 15m-by-l5m squares and subdivided equally in three portions. The Chapel is charaterized by arcuated structure, centrifugal force, and Dionysosian sentiment. In this work, architect Lee Hee-Tai also expressed the locality of Korean architecture with the grammar of column-roof.

교과서는 시대적 이념과 가치를 반영하고 있는 공식적인 지식 전달의 매체이다. 학습자는 교과목에 대한 첫 이미지를 교과서의 표지를 통해서 갖는다. 교과서 표지는 교과목에 대한 인지가 시작되는 영역임에도 불구하고 그 동안 충분히 연구되어 오지 않았다. 초등학교 국어과는 언어 학습을 통해 의사소통 능력을 신장시키고 더불어 창의적 사고력을 발달시킬 수 있는 기초 교과목이다. 본 연구에서는 국내외 초등 국어교과서 표지의 시각이미지에 대한 조형성을 비교분석하여 향후 국내 초등 국어교과서 표지 디자인의 방안을 제시하는데 연구 목적이 있다. 국내외 초등 국어교과서 표지의 시각이미지를 시각적 ⋅상관적 요소의 6가지 항목인 형상, 크기, 색채, 방향, 레이아웃, 배경으로 분석한 결과, 국내의 경우, 단일한 메인 오브제를 강조하고 제한된 색채를 적용하여 시각적 아이덴티티를 분명하게 만들어야 한다. 학습자의 창의력을 유발하기 위하여직 접적인 그래픽 모티브와 구체적인 공간과 상황의 묘사보다는 추상적 발상에 근거하여 시각이미지가 구성되어야 한다.

인터넷을 중심으로 다양한 커뮤니케이션 미디어가 등장하면서 책은 더욱 고급화되고 다양한 디자인이 늘어나고 있다. 우리는 책표지를 보고 책의 제목과 지은이를 포함해 어떤 내용일지를 상상할 수 있다. 따라서 표지디자인은 과거에 책의 보존을 위한 보호적인 기능에서 벗어나 현재에는 책 내용을 한 면의 표지로 압축하여 책의 내용과 성격을 드러내주는 얼굴 역할을 하고 있다. 이에 본 연구는 표지디자인에서 제목 타이포그래피만 연구한다. 또한 다양한 분야의 책 중에서 신간서적의 출판수가 많아 책의 회전이 빠르고 표지디자인의 변화 경향을 한 눈에 볼 수 있는 소설분야를 선정하였다. 따라서 교보문고 연간 베스트셀러 소설분야 1위에서 10위를 기준으로 2010년부터 2017년까지 총 80권 중 중복되는 도서 21권을 뺀 59권의 제목 타이포그래피를 분석대상으로 조형성을 분석하여 제목 타이포그래피의 경향과 흐름을 연구하였다. 연구 결과 2010년부터 2017년까지의 제목 타이포그래피의 조형성을 살펴보면 서체는 명조체 29권, 굵기는 M(Medium) 34권, 색은 검정 26권, 크기는 1/5 이하 28권, 위치는 상단 44권, 방향은 가로 55권, 정렬은 규칙 34권으로 나타났다. 2010년부터 2017년까지의 소설분야 제목 타이포그래피의 조형성을 종합해보며, 출판시장의 판매경쟁이 과열되면서 표지디자인은 다양한 표현방법에 의한 디자인 양상이 나타나고 차별화된 디자인적 특성은 더욱 두드러지고 있다. 제목 타이포그래피는 자유롭고 다양한 표현들로 일정한 트렌드가 있지만 그 안에서 조형적 부분 모두 조금씩 차별화하려는 시도가 보였고 다양성의 경향이 늘어나고 있으며 그 양상은 더욱 다양해 질 것으로 예상된다.

본 연구는 우리의 전통 기물과 함께 풍부한 소재와 다양한 형식으로 발전시켜온 오색전지공예에서 문양을 중심으로 기호학 적 분석방법을 도입하여 어떠한 방식으로 작용하여 상징을 드러내는지 검토한 것이다. 연구는 첫 번째로 전통 기법을 바 탕으로 현대적 공예 디자인으로 발전해 온 과정을 살피고 관련문헌을 체계적으로 분류하면서 전통문양의 일반적 상징의미 를 고찰하였다. 두 번째는 기호로서 오색전지공예문양의 상징적 의미에 대한 분석과 현대적 재해석에 적절한 여러 갈래의 기호학 이론을 살폈다. 여러 이론이 도입된 배경에는 롤랑바르트의 신화체계만을 도입할 경우 민간의 무의식이 침잠된 본 래의 인류 문화적 문양분석이 방기되는 결점 때문에 그 보완으로 소쉬르, 그레마스, 퍼스의 기호학 등 여러 학자의 기호학 을 고찰하면서 이론적 체계를 정리했다. 세 번째로 전통적 분류방식에 대해 포커스 샘플링으로 취한 7개 유형의 문양기물 을 사례로 들어 해석방식이 아닌 추론방식의 기호학 이론을 원용하여 분석했다. 방법으로는 동물, 식물, 길상, 기하, 자연, 음양사상 등 전통분류 소재에서 포커스 샘플된 7개 전통문양을 기호학적으로 분석한 결과, 단순히 불로장생과 악귀퇴치, 자손번창을 기원하는 상징성만이 존재하는 것이 아니라 시지각적으로 체험되는 고상함, 자유, 활동성, 관능성 등 조형적 특 성이 의미복합체로 내재되어 있음을 알 수 있었다. 이는 전통문양이 기호로서의 문양, 대상으로서의 기물, 해석소로서의 상 징성과 함께 이데올로기로서의 신화인 1차성, 민간설화이야기의 2차성, 조형적 미의식의 3차성의 기호를 가지고 있는 것으 로 분석된다. 3차성의 기호는 전통문양의 재해석부분으로 현대생활에서 문화상품개발에 활용할 수 있는 디자인가이드라인 을 제시했다.