• Title, Summary, Keyword: Painting

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A Study on Fashion Design by Application of Fashion Painting (패션페인팅(Fashion Painting)을 이용한 의상디자인 연구)

  • Jung, Kyung-Bock;Rhee, Jung-Hi
    • The Research Journal of the Costume Culture
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    • v.18 no.1
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    • pp.205-215
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    • 2010
  • In modern society as people adapt to social and cultural changes, people prefer high-scarcity designed products rather than standardized ones. Consequently, this adaptation lays a foundation in art and cultural domains to express uniqueness and individuality. The purpose of this study is to develop fashion designs by fusing fashion painting and handicraft techniques through creative and various artistic expressions. The researchers studied the sociocultural background of modern handicraft fashion using document-based research methods. Based on the characteristics of modern handicraft, we produced six garments that applied fashion painting techniques. In this study, the origin of fashion painting was found in ornaments such as tattoo or body-painting. We determined that modern designers were using various fashion painting techniques and motives as unique and advanced ornamentary skills. Harmonizing various handicraft techniques(dyeing, embroidery, quilt, patchwork, beads, fashion painting, etc.) centered on fashion painting enabled creation of unique fashion design through varieties of artistic expressions.

A Study on Diverse Designs of Furniture Presented as Graduation Projects by Graduates of Local Universities - Focusing on painting methods for wooden surface -

  • Choi, Ki;Lee, Jae-Young
    • Journal of the Korea Furniture Society
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    • v.19 no.4
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    • pp.252-259
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    • 2008
  • High glossy painting and UV lithographic painting as painting methods for wooden furniture have played a positive role in enhancing the diversity of furniture design, which has been proved by the analysis on the relationship between the change in the diversity of design and painting methods of graduation projects (wooden furniture) presented by graduates of local universities, as a focus of this article. Since the development of new painting methods has the potential to develop aesthetic characteristics of wooden furniture, many design experiments are needed to improve decorative features of furniture, such as the application of high glossy painting and UV lithographic painting.

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The Crisis of Painting and Its Response (회화의 위기, 회화의 대안)

  • Bhak, Young-Taik
    • The Journal of Art Theory & Practice
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    • no.2
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    • pp.7-26
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    • 2004
  • Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

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Automatic Method for Generating Oriental Color Ink Painting (자동화된 수묵담채화 생성 기법)

  • Lee Ki-Jung;WhangBo Taeg-Keun
    • Proceedings of the Korea Contents Association Conference
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    • pp.100-104
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    • 2005
  • Researchers of oriental color ink painting have concentrated on physical models such as brushes, papers, and ink diffusion. These models can be effective when painter depict a painting by tablet pen. If a painter has poor skill to use tablet pen or drawing ability, result should be not satisfied. In this paper, we propose an automatic painting method for oriental color ink painting. We use a computational approach to abstract landscape image and reproduce a painting by oriental color ink painting method. The reason why we use landscape image, landscape painting is a major theme of oriental ink painting.

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The Analysis of the Painting Work Clothes Clothing Comfort and Wearer Mobility Considering the Work Environment in the Machine and Shipbuilding Industries

  • Park, Gin-Ah;Park, Hye-Won;Bae, Hyun-Sook
    • Journal of Fashion Business
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    • v.16 no.3
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    • pp.13-31
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    • 2012
  • The purpose of the study was to analyze the work clothes' clothing comfort and wearer mobility of painting workers with the consideration of the work environment features in the machine and shipbuilding industries in South Korea. A questionnaire survey was conducted for the study, which consisted of questions on the clothing comfort and wearer mobility aspects of painting work clothes by clothes types and body parts. The work clothes' clothing comfort and wearer mobility levels were scaled in 5 points i.e. 1(: very tight/very uncomfortable) to 5(: very slack/very comfortable). The painting work environmental hazardous features were considered as high impact levels of workplace temperature, oxygen deficiency, organic solvent, toxic gas factors while metal fragment factor only impacts 'low' in the painting processes with the findings throughout this study. Since the painting work consisted of surface washing and the spray and touch-up painting processes, which was carried out in an outdoor work place, the painting work clothes should meet high performance of waterproofing from the painting material and air permeability specially in summer as well as thermal performance in winter. The subjects painting workers' assessment of the existing work clothes' clothing oppression was in the levels between 3 (i.e. moderate) and 4 (i.e. comfortable) in a range of 1 to 5 points. The existing painting work clothes' wearer mobility was evaluated 'very uncomfortable' in all work clothes parts, especially, armhole length, biacromial breadth, sleeve length of the jumper; and body rise, waist, hip, thigh and knee circumferences of the pants.

A Study of Contemporary Korean Painting's Expressions through the Reinterpretation of Folk Painting (민화의 재해석을 통한 현대한국화의 표현에 대한 연구)

  • Oh, Se-Kwon
    • Journal of Science of Art and Design
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    • v.10
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    • pp.51-72
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    • 2006
  • Reinterpretation of the visual characteristics of Korean folk painting in contemporary Korean painting is to seek directions of today's Korean painting. When examining expressions of contemporary painting we see that there is a reappearance of iconic images, a reinterpretation of both flatness and multi-perspectives, and an objectifying of pastiche folk icons with an experimental spirit. All of these techniques suggest methods of contemporary Korean painting through 'folk painting'. Although folk painting has been adopted in contemporary Korean painting for a long time, interest increased in the 1980s. With the prevailance of both national characteristic expressive techniques of realism and color painting, artists reinterpreted folk painting in their work, borrowing the traditional five colors, common contents, and iconic images. Particularly, an interest in 'Korean Beauty' drew people's interest back to folk painting which provided the significant 'Korean Beauty' of traditional expressive techniques. This study is to examine the characteristics of selected group of works that created a new expressive technique in today's Korean painting by either the reappearance or the reinterpreting of iconic images of the Chosun Dynasty's folk painting. To achieve these goals, the artists, who modify or reinterpret folk painting's visual characteristics with a contemporary sense, are divided into three categories in this study; 'The Readoption of the Folk Image', 'The Reinterpretation of Folk Characteristics', and 'Experimental Expressions'. As a result, it proves that folk painting is both a classical expression and national expression which was not only favored in the Chosun period, but also can be reinterpreted through today's visual methodology.

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A Study on the Sketch of Trikaya Banner Painting in the Suta-sa Temple (수타사 삼신불괘불도(三身佛掛佛圖) 초본(草本) 연구)

  • Kim, Chang Kyun
    • MUNHWAJAE Korean Journal of Cultural Heritage Studies
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    • v.42 no.4
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    • pp.112-131
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    • 2009
  • The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

A Study on Body Painting according to Physical Types (신체적 유형에 따른 바디페인팅 연구)

  • Park, Jeongshin
    • Journal of Fashion Business
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    • v.19 no.5
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    • pp.175-187
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    • 2015
  • Body painting according to physical types is a method to express the body as it exists in nature or as an active element of nature. There is a need to research physical formation that applies the trend of contemporary naturalism to the types of nature art by emphasizing the artistic value of body painting with natural environmental overtones. Importantly, body painting according to physical types attempts an intact reproduction of natural objects and the reflection of the beauty of natural objects in body painting. Thus, the purpose of this study was to analyze body painting according to physical types based on the types of nature art. The methodology of the study included theoretical and empirical review. Theoretical review examined the characteristics of physical formation in nature art and relevant nature art works and body painting of physical types through previous research and literature. The empirical review applied analyses to works extracted from web sites of body painting. The study included physical type cases extracted from body painting works from 2005 to 2015 in foreign web sites(www.ilovebodyart.com and www.angel cakebodyart.com). Body painting works were based on the characteristics of physical types. As a result, the body painting of physical types based on nature art is as follows. First, organic continuity with nature art through the artists'thoughts and beliefs. Second, the specificity of place that respects the natural phenomenon itself. Third, the creative diversity of formative shapes for the body. Fourth, the social implications of body painting with human empathy. Fifth, immediacy to embody the artistic will of the artist. Finally, the application of physical types according to affinity with nature, as well as an independent artistic entity.

A Study of Tradition Formation and Characteristic of Korean Ottchil Painting (한국 칠화(漆畵)의 전통 형성과 특징 연구)

  • Lim, Seung Taek
    • Journal of the Korea Furniture Society
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    • v.26 no.1
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    • pp.31-50
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    • 2015
  • This study analyzes traditional form and figurative characteristics of Ottchil Painting based on objective relics about long lasted Ottchil Painting and related literature as our country's national culture. Study range is among Lolang (Nangnang), Three Kingdom Dynastys (Koguryo, Baekje and Shilla), Unified Shilla Dynasty, Koryo Dynasty, Joseon Dynasty, Modern times and Contemporary. The method of study is after theoretical consideration of Ottchil Painting through related literature, adduced figurative characteristics of related Ottchil Painting by time period with case-study methods such as excavated relics and historical basis. Ottchil Painting consists of color, which is derived from Ottchil mixed with a mineral pigment of powder and various patterns and drawings using different techniques. The methods of Ottchil Painting are Myohoi, Yanggam, Gakhoik, Younma, Balsoa and Toiso. The techniques of Ottchil Painting of our country is established by splendid and unique for about 1,600 years revolved around Myochilchaehoi technique and Myoyuchaehoi technique started at Unified Shill a Daynasty and through Koryo, Joseon Dynasty, Modern times and Contemporary. Also, such this Ottchil Painting form of red in the inside and black in the outside, which is wood based, the rest is bamboo sheath and framework from Geonchil based and the figurative characteristics presented the traditional Patterns of Lotus, Phoenix, arabesque, bird, animal, cloud, marble and letter with red Ottchil, yellow Ottchil, or five colors Ottchil.

A NOVEL METHOD FOR CHINESE INK PAINTING COLORIZATION

  • Wang, Yun-Wen;Hsu, Chia-Min;Shih, Zen-Chung
    • Proceedings of the Korean Society of Broadcast Engineers Conference
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    • pp.38-43
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    • 2009
  • The Chinese Ink Painting is an art with long history in Chinese culture. Painters can obtain various kinds of scenery by mixing water and ink properly. These papers provides a colorization technique that can transfer gray scale paintings to color paintings. Various colorization techniques for photorealistic images have good results. But these techniques are uncertainly suitable for Chinese Ink Painting. In our method, users only provide a gray scale Chinese Ink Painting and a similar color Chinese Ink Painting subjectively, system can automatically transfer the color from color painting to gray scale painting. We also provide a method for users to refine the automatically generated result.

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