Earticle

The purpose of this study was to examine the satisfaction of environmental sculptures, consideration degree of formative design and environmental sculpture formative design elements that enhance user's satisfaction from user's perspective. To this end, the user satisfaction of the environmental sculptures on the central road and Dongseong-ro in Daegu city's central business and commercial districts completed through the basic design of Daegu Grand Design and environmental sculptures located in major streets in Seoul, Hong Kong, Macau, Singapore, etc. is Compared and analyzed. As a result of this study, it was understood that one of the factors influencing the difference in satisfaction with environmental sculptures was the formative design elements appeared in environmental sculptures. Accordingly, when planning environmental sculptures to create urban spaces with harmony and aesthetics with the surrounding environment, it is considered that discussion on the formative design direction considering user satisfaction is required.

This study examined the characteristics of formative design elements of semi‐up‐style observed in wedding ceremonies in the mid and late 2000s focused on five elements (parting, position and volume of chignon, burial and exposure of the ear line, forelock style, and head pieces, corsage, and various accessories including wig) by comparing them with the characteristics late 1990s. First, with regard to the type of parting, late 1990s, parting in the middle or combing straight back was popular regardless of face shape, but in the mid and late 2000s, parting was made at the side to produce elegant and refined beauty. Second, with regard to the position and volume of chignon, late 1990s, chignon was raised up to the gold point (G.P) and the top point (T.P) or an excessive volume was given to TP, so it looked artificial and old, but in the mid and late 2000s, chignon was positioned at the nape point (N.P) and back point (B.P), and N.P gave a point volume at around the neckline to produce the feeling of moderation, elegance, and composure. Third, with regard to the burial and exposure of the ear line, late 1990s, the ear line was exposed completely with no consideration of the bride’s face shape, so it looked artificial and old, but in the mid and late 2000s, the ear line was styled in various images including full exposure, partial exposure, and full burial. Fourth, with regard to forelock style, late 1990s, forelock was combed straight back neatly, but in the mid and late 2000s, forelock was styled in various ways including bang hair, medium length, and oblique curl. Fifth, with regard to partial wig and accessories, late 1990s, simply corsage or a partial wig was used uniformly, but in the mid and late 2000s, a partial wig was seldom used and various pieces of different shapes, sizes, and materials were used including corsage, head pieces, and natural flowers to adorn the bride. That is, while up‐style late 1990,s was a classical style that put the hair up to the top, looking unnatural and old, that in the mid and late 2000s was mainly natural semi‐up‐style in harmony with place, makeup, dress style, etc.

본 연구는 생성형 인공지능 기반의 텍스트 생성 도구 챗지피티와 이미지 생성 도구 미드저니를 활용하여 슬리브 디자인의 시각적 구현 가능성을 분석하고, 프롬프트 구성 방식에 따른 이미지 생성 결과의 차이를 도출함으로써 패션 디자인 분야에서 생성형 AI의 활용 가능성과 전략을 모색하고자 하였다. 본 연구에서는 셔츠 디자인의 기본 요소인 화이트 컬러의 면 소재, 레귤러 핏, 셔츠 칼라를 동일하게 설정한 상태에서, 다섯 가지 슬리브 유형을 독립 변수로 설정하여 이미지 생성 실험을 실시하였다. 이를 통해 프롬프트 유형에 따라 생성된 각 슬리브 디자인의 시각적 구현 특성을 비교⋅분석하였다. 실험 결과, 일반적인 셔츠 구성과 조형적 호환성이 높은 슬리브 유형은 비교적 정확하게 시각화되었으나, 전형적인 셔츠 디자인에서 벗어난 슬리브 유형은 미드저니의 사전 학습된 이미지 데이터에 따라 자율적으로 조정되거나 예기치 않은 시각 요소가 삽 입되는 경향이 나타났다. 또한, 프롬프트의 구성 방식에 따라 이미지 결과물의 차이가 뚜렷하게 나타났으며, 키워드 나열형보다 문장 구조와 관계성이 포함된 서술형 프롬프트가 디자인의 일관성과 세부 표현의 정확성 측면에서 더 효과적인 결과를 도출하였다. 아울러, 미드저니는 사용자 의도를 그대로 재현하는 데에는 한계 가 있으나, 조형 요소 간 새로운 결합 가능성을 제안하고 창의적 발상을 유도하는 측면에서 유의미한 디자인 도구로 활용될 수 있음을 확인하였다. 본 연구는 슬리브라는 구체적 조형 요소를 중심으로 생성형 AI의 이미 지 구현 특성과 프롬프트 구성 방식의 영향을 분석함으로써, 패션 디자인 분야에서 AI 활용 가능성과 프롬프 트 전략 수립에 유용한 기초자료를 제공한다는 점에서 의의가 있다.

This study explores the potential of generative artificial intelligence (AI) tools in visualizing sleeve design, focusing on the application of the text-based model ChatGPT and the image-generation platform Midjourney. The purpose of the research is to examine how variations in prompt composition affect image outcomes and to investigate the strategic use of generative AI in the field of fashion design. In the experiment, key shirt design elements—white cotton fabric, regular fit, and a classic shirt collar—were fixed as constants, while five different sleeve types were set as independent variables to generate images under controlled conditions. Based on the approach above, a comparative analysis was conducted on the characteristics of visually represented sleeve types across different prompts. The results revealed that sleeve types structurally compatible with conventional shirt designs were more accurately visualized. In contrast, sleeves that deviated from typical shirt structures tended to trigger autonomous reinterpretations or the insertion of unintended visual elements, reflecting Midjourney’s reliance on pre-trained prototypical image data. Additionally, distinct differences emerged depending on the structure of the prompt. Sentence-based prompts, which articulated logical relationships among design components, consistently produced more coherent and precise outcomes compared to keyword-based prompts, particularly in cases involving complex forms or intricate details. While Midjourney showed limitations in faithfully reproducing user intent, it also demonstrated the capacity to propose unexpected combinations of design elements, thereby supporting creative ideation. As such, the platform functions more effectively as a tool for exploratory design thinking rather than for exact visual replication. By centering on the sleeve—a specific structural element—this study identifies key factors influencing AI-generated fashion imagery and offers foundational insights for developing prompt strategies and expanding the role of generative AI in contemporary fashion design practices.

The thing has its inherent form (design point of view), which is the standard of distinguishing it from other things, and contains a number of elements. Interior design is a process of recombining those favorable design elements, which can express a certain (idea) subject. The interior designer decomposes the information and finds elements behind things, and then shapes the formal beauty of recombined "work", at the same time has control over performance efforts of subject and design innovation of elements recombining. the paper explores the changes, combination and innovation of elements for expressing theme in Interior design.

글로벌화로 인해 국제 교류가 더욱 빈번해지는 상황에서, 로고는 일종의 전파부호로서, 격렬해진 국제시장의 경쟁에 적응하기 위해 끊임없이 변화하고 혁신하고 있다. 세계화라 는 배경 아래서의 로고 디자인은 더욱 인간화와 다원화 발전 에 관심을 가져야 하며, 서로 다른 지역 간의 차별성을 구현 하는데 중점을 두어야 한다. 중국의 풍부한 민족문화자원은 중국의 디자인 분야에 많은 참고가치를 제공하고 있다. 따라 서 본 연구는 중국의 전통문양에 대한 연구를 진행하여 기업 의 브랜드 로고를 결합하여 중국 전통문화가 브랜드 로고에 미치는 영향을 분석하고 전통문양과 브랜드 로고 사이의 문 화적 공통성 및 전통문양이 브랜드 로고에 적용되는 방법과 법칙을 찾아 브랜드 로고디자인의 표현 방법에 발전 가능성 을 제공하고 있다. 연구방법은 이론서적과 문헌연구를 이용 하여 브랜드 로고디자인 중의 조형적 요소에 대하여 다음과 같은 연구분석을 하였다. 첫째, 중국 전통문양의 종류는 차 기업 브랜드 로고 도형의 창작 가능성을 제공하였다. 둘째, 차 기업의 브랜드 로고 이미지 표현과 변화는 문양 조직형식 의 영향에서 비롯된다. 셋째, 중국 전통 오색관의 영향을 받아 차 기업의 브랜드 로고 색채는 뚜렷한 민족적 경향성을 가지고 있다. 마지막으로 중국 전통문양과 브랜드 로고는 문화적 공통성이 있으며, 문양이 풍부한 상징적 의미를 통해 기업 브랜드 문화의 내포된 의미를 정확하게 표현할 수 있다.

With the development of global integration, internationa l exchanges are becoming more and more frequent. As a symbol of communication, signs are constantly changing and innovating in order to adapt to the international mark et competition. Under the background of globalization, lo go design should pay more attention to human nature an d diversified development, and pay attention to reflect the differences between different regions. China's rich nation al cultural resources provide a lot of reference value for China's design field. Therefore, this research study of Ch inese traditional patterns, combined with the enterprise b rand logo to analyze the influence of Chinese traditional culture for the brand logo, trying to find out traditional patterns and the cultural generality and traditional patter ns between brand logo application method and the rule in the brand identity, for the performance of the brand identi ty design method provides the possibility of development. The research method uses the theoretical books and liter ature research to conduct the following research and anal ysis on the modeling elements in the brand logo design: First, the types of Chinese traditional patterns provide th e possibility of creating the graphics of the brand logo of tea enterprises. Secondly, the image expression and chan ge of the brand logo of tea enterprises come from the infl uence of the organizational form of the grain. Thirdly, inf luenced by the traditional Chinese view of five colors, the brand logo color of tea enterprises has obvious national tendency. Finally, Chinese traditional pattern and brand l ogo have cultural similarities, through the rich symbolic meaning of pattern can accurately express the cultural co nnotation of enterprise brand.