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바이오닉스 디자인방법 연구 : 자동차 디자인을 중심으로 Focussed on the Car Design
김동욱 한국색채조형학회(구 한국색채교육학회) 2003 한국색채조형학회지 Vol.12 No.-
For performing a design education efficiently, first of all the development of its methods is required. Most departments of design agree on the necessity, however, there are no sufficient basic studies on it. The established design curriculums are short of systemic teaching-study especially there is no subject on a Bionics design. The current design curricula in Korea universities consist of subjects on development of abilities of expression, thinking, and application. Due to concentrating on beauty values, they can not cultivate the basic ability for drawing rational forms. Because there are not enough subjects to relate with the abilities of expression and application, the results of styling techniques based on appearances have been created from the practical subjects of high grades. To resolve these problems, this study focus on presenting teaching method of Bionics design. The design will be able to satisfy the needs for compensating for gaps between subject of high and low grades, suitable for improving the ability of analytic method. It is made up of courses of teachings of conception, concreteness and expression. The conception course is to instruct students through a creative thinking to recognize features of natural materials and how to express them. The concreteness course is a course of sketching images from the observation of forms and colors of collected things. The expression course is to show a new design type by applying the concreted things to a target theme and contents of the observation. The systemic education of training ideas will play an important role in developing aesthetics and creativity of designers.
배선주,정승혜 한국색채조형학회(구 한국색채교육학회) 2003 한국색채조형학회지 Vol.12 No.-
색을 이용한 고대 예술의 미는 단지 미학에서 생겨난 것이 아니라 종교와 미신에서 생겨났다. 예술은 예술이 상징적일 때는 기능적이며 실제적이 된다. 죽음의 물리적 증거를 부인하기 위해 이집트인들은 예술을 사용했고, 중국은 우주의 근본 원리를 상징하기 위하여 색을 사용한 것이 좋은 예가 된다.^1) 색에 대한 연상적 기치가 발전하여 어떤 통념을 형성하게 되면 그 색에는 상징적인 의미가 부여된다. 즉 색이 구체적 사물 이외의 추상적인 개념이나 표상, 감정 등을 형성하고 있는 것을 ‘색의 상징성’이라고 한다.^2) 이러한 상징적 의미는 개인적인 색감이나 의식에 의한 것이 아니라 개인이 속한 집단이나 사회 그리고 그 민족이 가진 보편적인 색감과 의식에 의존한다. 즉 색채감정은 같은 문화권의 사람들에게는 ‘관념화된 보편성’으로 작용되며, 이것은 바로 문화적 특성을 나타내는 독특한 요소가 된다.^3) 인류학자 B.Berlin과 P.Kay^4)의 보고에 의하면 자색명 사용이 인종 간에 있어서 문화 척도의 한 단면이 될 수도 있다고 한다. 자연 현상으로서의 자색을 즐기는 데서 나아가 인위적으로 재현시켜 자색을 소유한다는 것은 고도의 문화 의식의 하나가 된다. 그러므로 자색문화가 일찍부터 그 민족의 역사 속에서 형성되었다는 것 자체가가 높은 문화 의식을 가진 민족이라는 자긍심이 될 수도 있다. 이에 본 논문은 동, 서양을 구분하여 자색의 상징적 의미를 살펴보고 어떠한 색채 문화적 특성으로 나타나는지를 연구하고자 한다. 본 논문에서 지칭하는 자색계란 스펙트럼상 약 380~425㎚의 (Newton에 의하여 Violet이라 명명된) 단파장대의 단색광과, 스펙트럼상에는 존재하지 않지만 굴절각이 다른 장파장과 단파장광의 혼합자극에 의하여 지각되는 색 환상의 Red와 Violet를 이어주는 색을 일컫는다. Purple in western was the color including 'Argaman and Tekhelet' of Hebrew (Red Purple and Blue Purple caused of Murex Snail dye stuff) in Bible. It stands for the symbol of the powerful, the wealthy and religion. The synthesized violet dyehamed Mauve) was prevailed after the first industrial revolution period and this artificial invention effected negatively on the symbols of violet color with groomy atmosphere. Violet color cultural images with unique emotional characteristics stand for gloominess, depression, despair and also elegance, nobleness, mystery based on the symbolic and associated images. Purple in the oriental(named 'Ja, 朱' caused of Gromwell wood roots) coming between red and Black at the dimension of EUMYANG Thought(陰陽五行思想), would be diversified as a subordinary color. the concept of purple, however, would be renowned since the TAE IL Thought(太一思相). Since purple means for the position of emperor, the propitious omen, it was recognized as a noble one. Further more it is expressed the mystry, good auspices, praying and the symbol of love and beauty. Especially, korean traditional purple dyeing materials were well known with highly developed technique and transferred to Japanese culture.
원미은 한국색채조형학회(구 한국색채교육학회) 2003 한국색채조형학회지 Vol.12 No.-
This study seeks to illustrate that the use of "sacjumto" in color-education for early childhood is useful for understanding the concept of color, value, and chroma. Furthermore, it can develop the ability for discriminating color in comparison with a conventional method based on visual-oriented instrument such as a pastel crayon, dyestuffs, colored paper, or computer-mediated color. The results of survey in test-class in school for research purpose are as follows. · As for the degree of recognizing color by the questions of "experience of seeing color and color name", most children are able to know the name of color. In addition, they can discriminate color with modifier in post survey after class through "sacjumto" adoption in teaching method. unlike the result of survey conducted before class, the figure of 32.5% averagely answered with "I don't know" on 4 individual different questions for 4 colors. In particular, with regard to the recognition of mid-range color produced by the mixture of different color, 73.4% of subjects found out that the mixture of yellow clay and pink clay goes into the orange colored clay and the rest just guessed the result of mixture of them would be pink colored one in survey after class, whereas nearly 70% of them in pre-survey before class answered pink colored one as the result of the mixture, As can be illustrated by this fact, the conception of mid-range color are formed among them. · In the recognition of value by increasing white color clay in the mixture of white-and yellow-color ones, the number of subjects being able to discriminate the difference of brightness and darkness after class are higher twice than the one of them before class. · For the degree of recognition of "chroma" by questioning "what if adding light green clay onto pink one", only 10% answered as ash-color one before class, despite 70% in right response after class by 60% up.