3D 애니메이션에서 효과적인 의상 애니메이션에 관한 연구

이문영,정진헌,차현희 한국일러스아트학회 2008 조형미디어학 Vol.11 No.3

3D animation has many limitations of expression in production, because the accounting proportion of computer graphic technology is high different with 2D animation. Position of current computer graphic technology should be identified and story structure, design and other things should be considered in planning stage, especially the expression of character costume is the most limited thing. So these are the reasons of very limited expression of costume in a lot of 3D animation in the meantime. But recently many 3D animations are launched that showing various kind of costumes due to the rapidly developed computer graphic technology. Compared with previous domestic animation, proper use of costume simulation form and key animation form is outstanding. The one of the important thing to express features of character is the costume. In this study, we analyzed the cases of costume animation in domestic and foreign 3D animation and simulated using Maya’s nCloth of 3D animation design software. At first we simulated costumes according to the motion of the characters, and then we simulated costumes according to the kinds of costume. As a result of this study, the range of costume expression was wide, but many difficulties were found to apply all of them for animation production. This research was designed to analyze the need of costume animation research for various costume expression and to find the way to advance of costume animation. 3D 애니메이션은 2D 애니메이션과 달리 컴퓨터 그래픽 기술이 차지하는 비중이 크기 때문에 제작하는데 표현상 제약이 많다. 기획단계에서 현 컴퓨터 그래픽 기술의 위치를 파악하고 스토리 구성이나 디자인 등을 모두 고려해야 하며. 특히 캐릭터 의상표현이 가장 많은 제약을 받는다. 그동안 많은 3D 애니메이션에서 매우 한정된 의상이 사용되었던 이유도 여기에 있다. 그렇지만 최근 들어 급속도로 발달된 컴퓨터 그래픽 기술로 인해 다양한 의상을 선보이는 3D 애니메이션이 발표되고 있다. 기존 국내 애니메이션과 비교했을 때 의상 시뮬레이션 방식과 키 애니메이션 방식의 적절한 사용이 눈에 띈다. 캐릭터의 특징을 표현하는데 있어 의상은 중요한 요소 중 하나이다. 본 연구에서는 국내외 3D 애니메이션에서의 의상 애니메이션의 사례를 분석하고 3D 애니메이션 제작 소프트웨어 중 Maya의 nCloth를 이용하여 시뮬레이션을 해보았다. 먼저 캐릭터 동작에 따라 의상 시뮬레이션을 했고, 둘째, 의상의 종류에 따라 의상 시뮬레이션을 했다. 본 연구 결과 소프트웨어에서 의상표현 범위는 넓었으나 이를 애니메이션 제작에 모두 적용하기에는 여러 어려움이 있었다. 본 연구에서는 3D 애니메이션에서 다양한 의상표현을 위한 의상 애니메이션 연구의 필요성을 분석하고 의상 애니메이션 발전 방안을 마련하고자 하였다.

생활한복 이미지를 활용한 캐주얼웨어 디자인 개발

박영선(Young Seon Park) 한국복식학회 2005 服飾 Vol.55 No.1

Costume is a formative art expressed by active human unlike the field of other living formativeness, and an expression of social actions based on a style of culture in a period. Therefore, costume has a deep connection with a mode of living and is recognized as a `culture for living`, and is more characteristic culture than all metaphysical cultures including architecture, craft, painting, and sculpture. Therefore, it expresses wearer`s status or social standing, and furthermore, ideas and values of the times with aesthetic features in their form, color, materials, and pattern, so it is expressed as a mirror reflecting the phases of the times as. Korean costume had been dressed until the period of the Joseon Dynasty without a great change and started to be simplified in a simple style on the grounds of inconvenience in behaviors with the opening of an interchange of Western culture in the civilized period. And, this movement had been continued and Korean costume had been applied as an everyday dress under the name of `Reformed Korean Costume`. Since the middle phase of 1980s, it aroused many people`s interests with the introduction of designs focused on activity and convenience. In 1990`s, many people had taken a growing interest in Korean costume with development of various designs keeping pace with the internationalization period and Korean Costume had been revitalized under the name of `The Modernized Korean Costume`. And. since the 21st century, the advanced communication and full-scaled import of Western fashion have made the introduction of many fashion information in the world into Korea, affected greatly the fashion market, led consumers` sensitivity on a trend to be increased. Therefore, a design accepting a trend `The Modernized Korean Costume` with fashions has risen. Second, this study is an attempt to suggest a revitalization method of domestic casual Korean costume brands by developing and suggesting competitive and highly value-added products with connection of practicality, variety, and highly sensitive fashion styles. For theoretical study, domestic and foreign literatures, academic journals, professional monthly magazines, and newspapers were examined. And, a process of change and features of the Korean fashion since the civilization period, and concept, features and images of casual Korean costume were analyzed. On the basis of analyzing image, features, and consumers` preference of the modernized Korean costume, a design development plan was established and 10 suits of costume were designed and made.

Expression of Fashion Illustration on the Costume of the Movie Genre

( Kyung Ae Kang ),( Eui Jung Lee ) 한국패션비즈니스학회 2005 패션 비즈니스 Vol.9 No.6

Targeting a film that is the medium of having powerful influence upon the masses, the present study examined about a role and characteristics in the movie costume, and a role of costume designers, which are shown in process of being changed the film costume. There are many designers who were in charge of the film costume, but the present study examined centering on designers who participated aiming to create the image of a character from the stage of manufacturing a movie. It presented and analyzed visual materials by dividing four genres such as a historical drama movie, a horror movie, a fantasy movie, and a modern-play movie, and by selecting a typical work. A Historical drama movie needs to be investigated costume by the historical background in a movie, but inside it was shown clothes that were elaborately reproduced and newly created. A horror movie plays a role of medium that reflects the human society and the internal mentality of a human being along with the attribute of entertainment. As a genre that requires much costume, make-up and special effect aiming at dramatic effect, a role of film costume possesses great weight. As a fantasy movie is a field based on ``fiction`` of a writer who creates a work, it is a field that requires creativity of a costume designer most. As a modern-play movie is what reproduces reality, it best reflects the phases of that time, and is the field that is influenced by costume or fashion trend. Costume needs to be designed in a bid to allow spectators to be inspired the wholly united and harmonious mood with leading a story of a movie, and the individual image.

연극 ‘하얀중립국(원제:안도라)’의 무대의상 전개과정

조우현,조현진,박민재 한국의상디자인학회 2013 한국의상디자인학회지 Vol.15 No.4

The stage costume in theater, along with the stage art, is the element that has the biggest visual effect in helping the audience to understand the theater. Nevertheless, in the domestic theater production system, compared with the other public performance products, the stage costume has been rented or purchased due to the lack understanding of the importance of the stage costume and budget problem, and thus the role of the stage costume has been undervalued. Such a phenomenon is more noticeable in the small scale theater. However, in this play White Neutral Nation (Original: Andorra), the production team and the directing team recognized the importance of the costume in the early stage of production , and accordingly lots of efforts, such as staff meetings and budget allocation, were made for the stage costume. As a result, the entire production process of the stage costume could be examined. Recently, performance culture in Korea has made rapid progress and diverse forms of public performances are created and planned. Accordingly, the level of audience has been rising and the interest in the stage costume is also rising. So, it can be said that not only the stage costume but also the production system that makes it are important. This research examined the production process of the stage costume only of the play White Neutral Nation but it is considered necessary to make researches on the production process of the stage costume used for the theater of different themes and public performances of different kinds and to systematize their production process of the stage costume.

10~12세기 거란(요)(契丹(遼))의 복식고찰

윤양노 ( Yang No Yoon ) 중앙아시아학회 2012 中央아시아硏究 Vol.17 No.2

Even though the Chi-tan Dynasty was a country that destroyed the post-Qin Dynasty and controled the ruling position, it was not noticed in spite of a position of the so called-barbarian (Ho) in China, However, when seeing the costume legacy of the Chi-tan in the tenth-twelfth century, we could understand that they had their own characteristic, the sophisticated weaving skill and a bright costume. This study considered the costume of the Chi-tan Dynasty in the tenth-twelfth century based on the literature after seeing the Hangzhou Silk Museum in 2004 and the Chi-tan special exhibition in the Kyushu on October of 2011. This article examined the double costume structure of the costume system of the country and of the Han time for that era, and each costume characteristic for a robe, a top, pants and boots in the general costume. In addition, it tried to find the relationship between the netted clothes and a mask which it was used in their own aerial sepulture in the Chi-tan Dynasty and the costume of Goryeo Dynasty. The result of this study would be a useful data for having a new view of the costume of the Chi-tan (Laio) and understanding the relationship with the costume of Goryeo Dynasty. The result is as follows: 1. The costume of Chi-tan (Laio) Dynasty in the tenth-twelfth century was taken a double structure referred to the Emperor-the south bureaucrat -the costume system of the country and the Emperor-the north bureaucrat-the costume system of the country by accepting both the costume of Chi-tan as the costume system of the country such as a fitted robe, a long robe and Left-overlap fasten, and the system costume of Han time. 2. The costume was consisted of a fitted robe, a long and a short robe of Left-overlap fasten as an upper garment, and added the leather-fur robe. For pants, persons of both sexes wore shorts pants, most men wore the traditional socks and long pants that had a shoulder strap, and women wore a skirt that had a shoulder strap. 3. Boots of Chi-tan had the round top of a shoe, so it was suitable for using a stirrup. It was made into a curve of the front center of ankle of a shoe so that it could minimize the air resistance and could not get damaged by friction. 4. The funeral custom in Chi-tan was cremation after having the top of tree funeral. Therefore, the body was put a net long robe for protecting to lose the body for 3years in the top of tree funeral. The face was got a mask, the material of a mask and a net was classified depending on social status. 5. As there are many probabilities between the costume in Goryeo Dynasty and one of Chi-tan, this study would be helpful for researching the costume in Goryeo Dynasty. The hair of Chi-tan man was ``Gonbal`` that the front hair was a shaved head and the back hair was tied, they didn`t wear a headgear but a nobleman in their daily lives, unless it was for keeping out the cold and the wind. We think that the most efficient of the costume pattern and the way to wear in Chi-tan was realized in the real life for riding a horse; we could consider the hair style that shaved the front hair and the custom in which they didn`t wear a headgear in the daily life in the same vein as well.

동양적 복식디자인의 특성과 이미지 연구 (제1보) : 한국,중국,일본을 중심으로 Korea , China and Japan

이경희,김희정 한국의류학회 2000 한국의류학회지 Vol.24 No.1

The purpose of this study was to investigate the characteristic and image of oriental costume design on represented among three countries, Korea, China and Japan. The specific objectives were; 1) to identify the design characteristics of oriental costume. 2) to investigate the hierarchic structure of oriental costume image and the meaning structure of oriental costume image. The stimulus were 75 costume design of contemporary costume which represented the traditional image of orient. The main survey of questionary consisted of their evaluation of the oriental costume image by 26 semantic differential bi-polar scales and the subjects were 99 female students majoring in clothing and textiles. The data were analyzed by Cluster analysis, Factor analysis, ANOVA, Scheffe test. The major findings were as follows; 1) As a result of design analysis, costume design of Korea, China, Japan had differences on form, color, texture, pattern, ornament, etc. 2) The hierarchic structure of oriental costume image consisted of elegance, sexy, feminine. Through factor analysis about oriental costume image 7 factors were identified: Attention, Attractiveness, Sexiness, Activeness, Weightness, Classics, Maturity. It was found out strongly that Korean costume image was simple and comfort image, Chinese costume image was sexy and feminine image, Japanese costume image was luxurious and mature image.

民俗衣生活 교육의 현황과 과제

고부자(Koh Bou-Ja),소황옥(토론자) 비교민속학회 2003 비교민속학 Vol.25 No.-

The costume culture is the baseline which decide the locality and the trend of the times. It includes the outfits and the contents which will be understood after reviewing various aspects. We easily see the thing present externally as its formation, but the contents should be able to understand only through its idea or the society tangled with politics, economics, culture, religion etc.. The biggest back-ground group which makes change to the costume culture is the world and it will be subdivided into the nations, which forms the society. We can say that the home is the nearest and the smallest unit of it. Presently, the inherent tradition and the subjectivity in our whole life are changing with the trend of globalization. The transforming of the costume of the upper class became to get Chinese characteristics when they adopted the government officials uniform at the beginning of 7th Century(The Unified Shilla Period), and it has started to be westernized after the end of 19th Century. Especially under the period of the Japanese Governing at the beginning of 20th Century, our traditional clothes presumed to be unsanitary, uneconomical, unpractical clothes by the peoples who insisted the civilization of us. As the reason of justifying to accept the western costume, they put the prefix of "un-", But amongst the custom trends of becoming Chinese and westernize, the courteous national spirit putting full dress of 'jeogori-chima(jacket-skirt)', ㆍ'jeogori-baji(jacket-trouser)' with 'po(coat)' as outfit including ornament and head-gear, keeps on for half of a ten thousand years until today. Today, the everyday dress and the ceremonial costume are mostly westernized. But there are efforts to seek and to know what is ours righteously. The Government set "The Day to Dress Hanbok(Korean traditional dress)" in 1995 and the nongovernmental organizations honour the person of merit and perform ceremonial events in each year thereafter. But the effect may not be so extraordinary. The price of traditional hanbok is rising more and more while it is becoming to be as a ceremonial costume. 'Singwhal Hanbok(transformed practical hanbok)' made by some people with the meaning to make hanbok popular to the nation, has lots of problems in its design, grace and its price. To our utmost tantalizing, since 1980s while there has been mushrooming to open various major courses in the colleges such as costume department, costume, textile department and design course etc., the lectures on the 'History of Korean Costume and on Hanbok Composition' are decreasing. Further, in the class of our costume in the middle school for the teens of their highest sensitivity, we could not find any lessons on theory nor on the practice. The traditional costume to young generation who has accustomed to the westernization and to the convenience, is recognized as an antique and as one that is inconvenient while the generation who has experience to wear the traditional costume is disappearing. And it makes the education on the traditional costume culture even more difficult though the heros who lead ours to the internationalization and to the universalization, are these younger generation who are learning now. When one loses his own, one's nationality is to be sucked into the subjection to the strong. Who would take the responses to those problems aroused by today's social and home educations including the school, and how they would solve them? This study, thus put its first point to the history of commoner's(folklore) costume, secondly, deals the role and function of those goes through with the clothes. Thirdly, it deals the present and past situation of costume culture. And lastly, tried to understand together today's education system of the secondary school, of the college and university paying efforts to apprehend the present state of social education, assuming home, school, society, image media, mass communication, museum and private institutions wh

서양복식 유입기 전통복식 변화에 관한 연구 : 한국 · 중국 · 일본을 중심으로

김월계(Kim Weol-kye) 한복문화학회 2010 韓服文化 Vol.13 No.1

This study's purpose is to find out how traditional clothes got affected from western costume, the difference between Korea, China and Japan's costume even though they are geographically close and how it affected modern costume by observing Korea, China and Japan's historical background and costume and comparing three countries' characteristics. This study would be a chance of recognizing the traditional costume wore in nowadays have changed by what process and does it inherit traditionality well. During the incoming period of western costume there were changes like change of traditional clothes with western costume and unique silhouette that mixed traditional costume and western costume. Japan was fast at this because Japan was very active and progressive at receiving western culture. Korea was under the administration of Japan, so it's way of receiving western culture was done through Japan and Japanese culture which also affected Korea. Rebellion against Qing dynasty and modernization was the characteristic of China. It was the upper class that wore western costume first in three countries to its capability of getting it. The first costume to westernize was officiai's uniform and military uniform and one of the last ones to westernize was women costume because they had iittle social life. Traditional costume were wore at home and western costume were at work or public place. For the costume change of traditional costume were different from countries, because countries' unique costume was changed to something different and time difference. And it arrived to modern days with the non-costume way like shape, color and pattern.

러시아 服飾에 대한 연구 : 서유럽 복식과 제정러시아시대 복식의 횡적 비교,

한순자 경원전문대학 1996 論文集 Vol.18 No.1

The costume is an expression materialized in human life, which has been influenced by its social and natural environment. Through the reading of studies illuminating how the cultural history of a people or a nation has been reflected in its own costume, we can find out that the relationship between the history of social culture and that of its costumes is rather closely related, when the endless changes of costume are analyzed together with the historical data in the fields of politics, economy, culture, religion, and so on. Therefore the concerned historical data of costume is not just a relic of traditional past. It can be used as the basic material for a new idea or a new image. This study is concentrated on the relationship between the costume of Russia Czarist and its sociocultural background. Russia has formed a peculiar culture due to the various reasons such as diverse ethnic societies, vast landscape and complicated history, In this study on the historical and social conditions, the following points are stressed. First, the sociocultural background is studied especially with the emphasis on the political history of Czarist Russia. Second, the original costume of Russia is analyzed in terms of the study of Slavic folk costume in Eastern Europe. Third, the sociocultural aspects of Russia are examined in comparison with those of Western Europe through illustrations, tables and pictures, with the horizontal comparison of the Czarist Russia costume and the modern European costume. We now understand, with the result of this study, that the original costume in Russia has almost disappeared because of the influence of social environment and that Russian costume has succeeded both the original aspects, which are deeply penetrated into the heart of their culture, and the Slavic aspects in Europe and Asia, whose various cultural influences are dissolved into the contemporary Russian costume. In the future, the original costume should be more closely studied in to adapt the originality of Slavic people for the ethnic style and the ecological trend in contemporary costume studies, especially in the field of Russian costume studies.

Research into the Colors and Patterns of the Manchu Dress

Wang Xuejiao 동방문화대학원대학교 문화예술콘텐츠연구소 2021 문화와예술연구 Vol.17 No.-

복장은 한 사람의 성격을 반영하고 개인의 심미적 수준 및 내재적 수양을 직관적으로 체현한다. 한 민족에게 이는 민족의 문화와 풍속 더 나아가 한 민족의 사상과 심미를 체현한다. 이는 일종 특수한 언어이고 매 역사 시기의 경제적 발전, 생활 환경, 종교적 신앙을 체현하기도 한다. 우리나라의 각 민족의 복장 특징에는 각 민족의 문화 형태가 들어있다. 중국 복장은 5,000년의 발전 역사를 지니고 있고 그 중 만족 복장 중의 치파오는 중국 복장 발전 역사 중 독특한 매력을 지니고 있을 뿐더러 그 속에 숨겨진 의미도 있다. 치파오의 정신에는 민족의 지혜가 숨겨져 있다. 민족의 신앙은 치파오가 수수께끼가 가득한 매력을 지니게 하였다. 어떠한 사회 혹은 민족이든 시시각각 변화하고 있는데 이는 문화 자체 혹은 기타 문화와 서로 접촉하여 생긴 문화적 융합과 변화이다. 치파오는 샤먼 복장 문화의 영향을 받아 한족 문화를 경험하고 또 치파오의 시대까지 오게 되었다. 복장 제도의 제한이든 민족 문화의 영향이든 치파오의 색채와 도안은 사람들이 아름다운 생활 형태에 대한 동경을 표현하였다. 치파오는 중국 전통적인 복장 문화의 중요한 조성 부분으로서 치파오 중의 요소는 역사적 문명을 계승하였을 뿐만 아니라 자신의 민족 특색 또한 보류하였고 참고, 전통, 재창조를 통하여 더욱 잘 융합시켰다. 치파오의 발전과 변화는 민족 복장 사이의 상호 반응에 유력한 작용을 하였다. 치파오의 요소는 이미 세계 복장 문화 속에서 풍부한 시대와 문화적 특징을 체현하였고 현대 복장 디자이너들에게 수많은 영감과 창작 원천을 제공하였다. 이후 치파오는 중국에서만 입는 것이 아니라 세계 적으로도 사랑을 받게 되었으며 현대에 수많은 예복의 양식 또 한 중국 치파오의 스타일 및 꽃무늬 도안을 참고한 것이다. 이러한 전통적인 복장은 현대 디자이너의 눈에는 기타 용도가 있을 것이고 그들의 창작 중 전통적인 ‘중국식 요소’는 새로운 빛을 발하게 될 것이다 — 이는 중국 전통적인 민족 복장이 세상에 가져다 준 서프라이즈와 마찬가지이다. For a person, costume can reflect a person's personality, but also the individual aesthetic level and inner cultivation; For a nation, it reflects a nation's culture, customs, and its thoughts, aesthetics. It is a special language that reflects the economic development, living environment and religious beliefs of each historical period. The characteristics of costume of each ethnic group in China contain the cultural forms of each ethnic group. Chinese costume has a development history of five thousand years, among which costume of the Man nationality has not only unique charm but also implies meaning in the long course of the development of Chinese costume. The spirit of costume of the Man nationality gathers the wisdom of the nation. The belief in national totem also makes the costume full of enigmatic charm. All societies and nations change all the time because of cultural integration or changes caused by the culture itself or contact with other cultures. Under the influence of Shaman costume culture, costume of Man nationality goes through the Han culture and comes to the era of cheongsam. Whether with the restriction of the costume system or the influence of national culture, costume of Man nationality shows people's yearning for a better life form in the color and pattern. As an important part of Chinese traditional costume culture, the elements in costume of Man nationality not only inherit the historical civilization, but also retain the characteristics of their own nation. The reference, tradition and recreation are well integrated together. The development and vicissitude of costume of Man nationality have played a powerful role in the mutual promotion of national costumes. Elements of costume of Man nationality reflect the characteristics of the time and culture, also bring a lot of the source of inspiration and creation, so that until the late period, not only in China people wear cheongsam, but also on the international stage, many modern dress style are with the reference of Chinese cheongsam pattern design. Those traditional costume has different using ways in the eyes of modern designers. In their creations, the traditional "Chinese elements" radiate new light — this is the surprise that the traditional Chinese national costume brings to the world.