도솔천(兜率天)에 머무르며 법문을 설하는 미륵보살은 중생을 제도하기 위해 사바세계에 다시 태어날 미래의 부처로서 아시아 전역에서 널리 신앙되어 왔다. 이에 미륵 신앙은 사후 미륵보살의 주처인 도솔천에 태어나기를 바라는 상생 신앙과 미래세에 출현할 미륵불의 설법 을 듣고자 하는 하생 신앙으로 크게 나누어 보기도 한다. 중국 산서성(山西省) 고평(高平) 개화사(開化寺) <미륵상생경변상도(彌勒上生經變相圖)>는 북송대(960~1127)에 그려진 사찰 벽화로 오랜 기간 잘못된 명칭으로 알려져 왔으나 최근에 이르러 작품의 주제가 명확해지 면서 그 중요성이 새롭게 대두되었다. 미륵상생경변에 관한 선행 연구에서는 다수의 작품이 현존하는 서하와 천산 위구르의 사례를 통해 당대(618~907) 이후 불교가 쇠퇴한 중원(中原) 과 달리 이 지역에서 미륵 신앙이 성행한 것으로 해석해 왔다. 하지만 최근 <미륵상생경변>으 로 재규명된 본 벽화와 더불어 다양한 문헌 기록을 살펴보면 북송에서도 국가 차원에서 불교를 적극 후원하였고, 왕실과 사찰 그리고 민간에 이르기까지 미륵 신앙이 상당히 성행했음을 알 수 있다. 아울러 개화사본과 유사한 도상과 화면구성을 보이는 서하와 천산 위구르 작품과 비교해 보면 본 벽화가 가장 많은 수의 장면을 보다 충실하게 도해하고 있을 뿐만 아니라 개화사본을 비롯한 모든 작품에 표현된 건축물의 구조와 세부 부재가 정교한 계화(界畫) 기법 으로 그려진 점으로 미루어 보아 한족 문화의 중심인 중원에서 성립한 도상이 이웃 국가로 확산된 것으로 추정하였다. 이는 당시 북송과 이웃 이민족 국가 간에 불교문화가 적극적으로 공유되고 있었음을 보여주는 사례로서 더할 나위 없이 중요한 작품이라 할 수 있다.

This study has established a fashion illustration education plan using the contour drawing that fosters observational ability and enables creative drawing. This study developed two illustration curriculum proposals consisting of 15 weeks, combining literature and case studies. The researchers organized a step-by-step teaching plan that utilizes contour drawing according to the three stages of fashion illustration classes: foundation courses, general courses, and intensive courses. When the contour drawing is used at the beginning stage of the foundation courses of fashion illustration, it can be used as a technique to reduce the fear of students about practical skills, induce interest in illustration, and cultivate observation ability about objects. In general process, it is combined with various tools and coloring materials to strengthen expression power, and it is possible to produce detailed expressions and illustrations about human body and clothing. In intensive courses, it is expanded to the production of creative works with new aesthetics through digital techniques and mixed materials. As such, the contour drawing is expanded in various ways according to the learning contents and goals of each step, and is flexibly adjusted according to the learning content. Contour drawing has the effect of acquiring observation and expression ability, and it is analyzed as a technique that enables the production of creative illustration of students.

This study describes how the illustration book of Korean coastal and offshore fishing boats was published. The illustration book provides information on fisheries which need boats for their fishing operation. The book contains 25 fishing boats belonging to 15 offshore fisheries and six boats belonging to five coastal fisheries totalling 31 boats belonging to 20 kinds of fisheries. Until now, no books were available in Korea on fishing boats which provided illustrated descriptions of their use in fishing. We carried out field and literature surveys of fishing boats for three years (2016-2018) and the results were compiled into three-dimensional modeling images with schematic drawings of fishing boats, along with text explanations. The particulars and technical drawings of lines, general arrangement (GA), fishing gears and methods are collected and summarized. All fishing boats are modeled with 3D color graphics. The particulars and names of the main items of the fishing equipment are presented besides structural parts. In addition the fishing gear, fishing season and grounds, number of crews and target species for each boat are correctly described. The illustration book of Korean coastal and offshore fishing boats will contribute to understanding the current status of fishing techniques in Korea and will assist in developing new types of fishing boats.

최근 디지털 콘텐츠 중 E-Book과 웹 소설이 증가하고 있다. 삽화는 텍스트 콘텐츠에서 독자의 이해를 도울 수 있다. 따라서 텍스트 콘텐츠를 분석하여 자동으로 삽화를 생성하는 여러 접근방법이 등장했다. 먼저 규칙 기반 접근방법은 문장을 분석하는 규칙과 분석된 문장 구조를 삽화로 변환하는 규칙을 모두 활용하여 삽화를 생성한다. 그러나 정해진 규칙에서 벗어나면 삽화를 생성하지 못 할 수도 있다는 단점이 있다. 다음으로 통계 기반 접근방법은 통계를 기반으로 후보 중 가장 가능성이 높은 삽화를 생성한다. 그러나 통계 기반 접근방법은 사람이 추출한 정보에 강하게 의존한다는 단점이 있다. 본 연구는 사람이 아닌 시스템이 자동으로 정보를 추출하는 딥러닝을 활용한 삽화 생성 시스템을 제안한다. 제안하는 시스템은 형태소 분석기, 개체명 인식기, 의존 구문 구조 분석기로 이루어져있다. 동화 "빨간모자"를 통해 평가하였고, 총 99문장 중 삽화 생성이 가능한 문장이 28문장, 삽화 생성이 불가능한 문장이 71문장이었다. 삽화 생성이 불가능한 문장의 경우 대사가 41문장, 불명확한 주어가 2문장, 그리고 표현이 불가능한 서술어가 28문장이었다. 제안하는 시스템이 올바른 삽화를 생성한 문장은 23문장, 부적절한 삽화를 생성한 문장은 2문장, 삽화를 생성하지 않은 문장은 74문장으로 나타났다.

흔히 일러스트가 전문가의 전유물인 것으로 판단하여 바쁜 현대인에게 외면되어 왔다. 그러나 이 논문에서는 일러스트가 현대인에게 틈나는 시간을 활용할 수 있는 유익한 치유 도구임을 강조하고자 한다. 연구범위는 일러스트 행위에서 나타나는 다양한 심적인 즐거움가운데 <멈춤, 없음, 흐름, 영원>의 순간적 포착에 의한 순수지평으로 제한하였다. 연구방법은 제한된 연구범위에서 생성하는 순간성의 치유체계에 나타나는 다양한 현상가운데 대표적인 4가지의 현상적인 지향성을 기술하는 형식으로 하였다. 결과적으로 순간성의 치유체계를 통해 정신적인 즐거움을 자각할 수 있었으며, 일러스트가 상업적인 목적성에 의한 수단이 아닌 정신적 치유를 위한 또 다른 일러스트 행위가 있음을 확인 하였다. 결론적으로 일러스트가 전문가의 전유물이 아닌 바쁜 현대인에게도 자신만의 고유한 순간성의 치유체계를 통해 정신적인 즐거움에 깊이를 더할 수 있음을 강조하고자 한다.

Introduction What is fast fashion? Does this term just define all the latest or the most popular or the most famous clothes? In reality, this social phenomenon goes beyond the conventional notion of industrialized fashion and carries more importance than is implied by this view. Fast fashion, defined as “the retail strategy of adapting merchandise assortments to current and emerging trends as quickly and effectively as possible” (Sull & Turconi, 2008, p. 5), has received a great amount of attention from fashion marketers and consumers since its inception during the 21st century (Tokatli, 2008; Jang et al., 2012). The purpose of this study was to deepen our understanding of fast fashion consumers. Based on the review of related literature, the key variables related to fast fashion consumers were categorized into three dimensions: consumer characteristics (i.e., fashion leadership, price consciousness), consumer awareness (i.e., awareness of sustainable practices of fast fashion retailers, perception of fashion democratization), and attitude toward fast fashion retailers. The three dimensions were examined in a sequential manner to assess the power of each set of antecedents in explaining college students’ repatronage intention of fast fashion retailers. Related Literature While fast fashion retailers have experienced a huge financial success mainly due to their affordable and accessible fashion products, they have also been harshly criticized by some members of the public because of their lack of corporate social responsibility. Indeed, fast fashion retailers’ low cost and efficient supply chain management systems have had negative effects on the environment, society, and people (Barnes & Lea-Greenwood, 2006; Bruce & Daly, 2006; Ro & Kim, 2009). The U.S. Environmental Protection Agency (EPA) announced that about 14.3 million tons of textiles were generated in 2012, making up 5.2 percent of total municipal solid waste. Such massive textile waste has been attributed to fast fashion retailers because the cheap and trendy items they produce encourage consumers to make frequent purchases and to frequently dispose of unwanted clothing. Furthermore, several fast fashion retailers (e.g. Gap and Forever 21) have been criticized for the use of child labor and the sweatshop-like conditions of their factories (Ramishvili, 2012). Moreover, some fast fashion retailers have been involved in intellectual property lawsuits because they replicated the runway designs of prominent designers to produce knock-off products (Pous, 2013). In response, a few fashion experts claim that fast fashion retailers destroy fashion because the styles produced lack of aesthetic expression and creativity (Choufan, 2013). However, these issues are not solely a problem associated with fast fashion retailers. In fact, the entire fashion industry is responsible for adverse environmental and societal consequences to some extent. Traditional fashion retailers (e.g. Diesel, Levi’s, Dolce & Gabbana, Chanel, Hermès) also generate huge amounts of textile waste along with hazardous waste that results from the chemical materials used in production processes. Their products are also manufactured in developing countries to keep production costs low. They also may not pay attention to the labor environment. Therefore, traditional fashion retailers along with fast fashion retailers have responsibilities related to sustainability issues (Casey, 2014; Greenpeace, 2013). Nevertheless, fast fashion retailers have received the majority of the public’s criticism regarding these issues. Contrary to a popular belief, fast fashion retailers have taken some steps to apply the concept of sustainability into their business practices. For example, H&M collects unwanted garments for recycling, uses recycled or reused materials for producing new garments and uses organic cottons (Lanyon, 2013). Other fast fashion retailers like Zara, Topshop and Uniqlo as well as H&M also have launched eco-friendly collections (MacDonald, 2012). Moreover, H&M, Zara, Mango and Uniqlo have committed to eliminate the release of toxic chemicals by 2020 in response to Greenpeace’s Detox campaign and to public pressure (Greenpeace, 2012). Furthermore, fast fashion retailers are also paying attention to labor issues. For instance, after more than 1,100 people died from the Rana Plaza building collapse on April 24th in 2013 (Chua, 2013), major fast fashion retailers signed the Accord on Fire and Building Safety in Bangladesh. This accord indicates these retailers agree to be responsible for the working environment for employees in apparel factories in Bangladesh. Although their ultimate goal might be to increase their sales by recovering their brand images damaged by unfavorable media coverage, it is clear that movement toward sustainable practices will minimize the negative impact of their business practices on the environment and society and encourage other retailers to incorporate sustainable practices. In spite of the harsh criticism directed at fast fashion retailers, consumers still like wearing fast fashion products considering that fast fashion retailers have continuously expanded their businesses worldwide and have been successful. Prior researchers interested in fast fashion retailers have focused on supply chain management issues (Barnes & Lea-Greenwood, 2006; Mihm, 2010), the value of fast fashion (Cachon & Swinney, 2011), and indentifying business strategies of a particular fast fashion retailer (Ferdows, Lewis, & Machuca, 2005; Ghemawat, Nueno, & Dailey, 2003; Tokatli, 2008). However, few researchers have theoretically explained why consumers still like fast fashion products and visit fast fashion retailers. With that in mind, the present study identified various factors that positively influence consumer attitude and their patronage intention toward fast fashion retailers. Furthermore, although fast fashion retailers have positive motivations toward consumers (e.g. provide inexpensive fashionable items,participate in sustainable practices), consumer research has highlighted their negative effects on the environment and society (e.g., Morgan & Birtwistle, 2009). Methods An online self-administered survey methodology was employed with a purposive sample of U.S. college students who had shopped at fast fashion retailers. A total of 154 usable responses were used for data analysis. The click through rate was 79.79%. Exploratory factor analysis and hierarchical regression were used to examine the interrelationships among the three dimensions of antecedents (consumer characteristics, consumer awareness, consumer attitude) and repatronage intention. The measurement items employed were developed based on previous literature. All items were reviewed and modified to fit the context of this research: consumer attitude and patronage intention toward fast fashion retailers (Madden, Ellen, & Ajzen, 1992); perception of fashion democratization (PFD) (Dubois, Czellar, & Laurent, 2005); fashion opinion leadership (Flynn et al., 1996; Goldsmith & Hofacker, 1991); and price consciousness (Lichtenstein et al., 1993). The items for measuring awareness of sustainable practices of fast fashion retailers (ASP) were created based on news articles presenting sustainable practices fast fashion retailers actually engaged in. Participant Characteristics Among the participants, 48.1% were majoring in a fashion related area (e.g. fashion design, retail merchandising). The majority of the participants were female (85.1%). Most participants (92.2%) were between 18 and 25 years old. With respect to ethnicity, 63.0% were Caucasian. Approximately half of the participants (52.6%) reported that they earned less than $10,000 annually. Also, 26.0% of the participants shopped at fast fashion retailers once a month. Results A weighted least squares (WLS) hierarchical regression analysis was used for data analysis. Fast fashion shopping frequency was used as a weight variable as it is related to the variability in the dependent variable. The results revealed that: (a) fashion leadership positively influenced repatonage intention (Model 1); (b) after controlling consumer characteristics, PFD played a significant role in increasing variance explained in repatonage intention (Model 2) and (c) after controlling consumer characteristics and awareness, consumer attitude was found to be a significant predictor, partially mediating the linkages from fashion leadership and PFD to repatronage intention (Model 3). Implications and Conclusion Our findings suggest that fashion leadership plays an important role in the fast fashion market because it initiates the acceptance of new trends and leads to diffusion of new fashion. Prior research suggests that fashion leaders (versus followers) are willing to take risks in trying new items offered by fast fashion retailers, are interested in fashion information, tend to retain fashion items for socializing for a short period of time and need various and unique fashion items (Goldsmith, Freiden & Kilsheimer, 1993; Kang & Park-Poaps, 2010). Given that fast fashion retailers promote frequent purchases and decrease the financial burden by offering new products on a weekly basis and charging low prices, our finding is consistent with fashion leaders’ characteristics prior research identified. Another important finding is that the role of PDF in defining fast fashion consumers. Fast fashion products look similar to high-end products, but are comparatively inexpensive because the fast fashion retailers apply or copy high-end designs into their products and use cheap materials (Niinimäki, 2009; Reinach, 2005). Also, fast fashion retailers open tremendous stores across the world, which make fashion more accessible to consumers globally. As a result, fast fashion retailers accelerate the fashion democratization and it means that both concepts of fast fashion and fashion democratization are highly related. As Wang (2010) stated, “fast fashion’s soul is to make fashion democratized with its low price and speed” (p.10). Further research is needed to extend and corroborate the findings of this study.

In the age of hybrid, the fashion industry has created multiple patterns of hybrid fashion due to mixed styles and genres. Fashion mixed with tradition and future and various cultures is emerging as a trend so that Asian cultures are reinterpreted in a modern way(Samsung Design Net. 2014). Korean images also change every year into a new type of cultural hybrid. This study aims to present esthetic and trendy hybrid outer wear designs applicable to the fusion of tradition and present and the west and the east as well as diverse life styles for the major target of consumption, the senior generation with young sense. This study conducted both theoretical and empirical study. The theoretical study looked into the characteristics of digital fashion illustrations using Sumuk technique and of senior outer wear through the precedent study and literature. In the empirical study, fashion illustrations were made according to the characteristics of digital fashion illustrations with Sumuk technique, and then fabric was made through digital printing. By doing so, hybrid outer wear designs for the senior generation were developed based on the characteristics of senior outer wear, and the real artwork was made. The findings are as follows. First, the characteristics of digital fashion illustrations using Sumuk technique are the hybrid expression where the spirit of inner feeling of oriental thinking, implications of symbolism and metaphor through blanks and lines, and fortuity of ink blurs and lines are recreated in a modern way through digital fashion illustration characteristics such as hybridity of multi-cultures and heterogeneous factors, expandability of blurring boundary, human-oriented playfulness, and sensibility of inner expression. Second, outer wear for the senior generation puts the most emphasis on aesthetic factors including designs, styles, youth, and complement of figure, followed by symbolism such as convenience of dressing or undressing, comfort, functionality of flexible size, trend, express of individuality, and dignity. In addition, this generation prefers outdoor wear for social, cultural, and casual activities and demand hybrid city wear designs adding the characteristics of outdoor wear that is highly worn for various city life styles. Third, the design motifs of fabric made by digital printing of Sumuk technique-based digital fashion illustrations include traditional ornaments of Joseon Dynasty such as norigae(Korean traditional ornaments worn by women), binyeo(Korean traditional ornamental hairpin), and ddeoljam(ornamental hairpin), mix traditional and Korean spirit with modern sensibility, and connote esthetic beauty of ornamental effects for women’s beauty and symbolism of lucky signs and wishes. Fourth, senior outer wear was designed using the made fabric. Work 1 arranged prints with the motif of traditional norigae in a spaced pattern. Hybrid outer was designed with comfortable, light, and reversible functions by using A line silhouette considering the senior generation’s figure, single buttons for easy clothing change, and outdoor wear materials and highlighted the utilization of city wear. Work 2 used border pattern of fashion illustration prints that use binyeo as its motif, and it was designed for social and cultural life styles with the fusion of tradition, which uses tent silhouette durumagi(traditional Korean outer coat) and composition lines that are plane and straight lines, and modernism. It highlighted functionality by using zippers and single buttons for each clothing changing and outdoor materials. Work 3 arranged fashion illustrations made by the motif of ddeoljam in a spaced pattern. This is a balloon silhouette considering the senior generation’s figure and a urban, modern design with unbalanced hem line with asymmetry of light and left. A zipper was attached, and a light and flexible outdoor material was used to emphasize its functionality. Work 1, 2, and 3 made the fabric of cultural hybrid sense using Sumuk technique-based digital fashion illustrations and used the design considering the senior generation’s figure and an outdoor material, and expressed easy clothing change and design of city wear. This is a hybrid senior fashion design expressing the fusion and coexistence of traditional and modern beauty, Korea’s oriental beauty and modern western beauty, and outdoor wear’s functionality and city life styles. This study will contribute to the invigoration of the senior fashion market that is newly emerging and the development of high-value added products as it presents hybrid outer wear adding functionality applicable to various life styles for the senior generation with the young sense.

壯族是中國人口最多的少數民族，主要聚居在廣西、雲南和廣東。壯族傳統上使用一種以漢字為基礎的文字，民間稱為「生字」（拉丁壯文：Sawndip），學界則稱之為「方塊壯字」或「古壯字」。雖然中國政府在1955年頒佈了拉丁壯文方案，但民間一直有繼續使用方塊壯字。本文以壯族人口比較最高的廣西德保縣、靖西縣為對象，從2003年至今定期到當地進行調查，考察方塊壯字在當代壯族社會的應用範圍。本文指出方塊壯字的主要用來記錄詩歌、壯劇、宗教儀式唱詞、諺語、電影壯語配音稿等，這些範圍都與壯語口頭文化有非常密切的關係。相反，凡是與口語關係不直接的讀寫活動，當地人民幾乎都只會以漢字漢文記錄，方塊壯字與漢字之間的功能分工非常清楚。

The purpose of this study is to analyze the effects of playful aspects through the research into characteristics and playful expressional tendency that are expressed in the contemporary fashion illustration. This study covered from 1995, the beginning point of play trend spreading, to 2006 and the fashion magazines, illustrator’s collections, and about 1800 pieces of work which have been revealed on the internet web site were collected. At the next stage, 443 pieces of work were selected by researcher for a questionnaire. As a result of the questionnaire, ultimately frequency was more than n=5, so it examined playful expression characteristics, the methods and the effects of the modern fashion illustration based on 335 pieces of work(75.6% of total sample) which were selected by the majority of expert group. It showed the biggest part of playful expression tendency in the modern fashion illustration was ‘simplification’, and second one was ‘exaggeration’. ‘Immature expression’ and ‘fantastic expression’ which are included in kidult expression were next. Hopefully, this study would be helpful for creative expression of the fashion illustration which is fit for spreading play trend in modern society.