Category Of Art Research Articles

Data Mining Techniques for Automatic Recognition of Carnatic Raga Swaram Notes

Data Mining is a powerful technology nowadays to discover and analyze large data sets. It has its applications in various fields of Arts, Science and Engineering. One such field is Music. Music is a form of arts which comes under fine arts category. It may be melody or rhythmic. It is broadly categorized as western music and classical music. Carnatic music is a form of south Indian classical music which comprises of swarams (7 notes) to evolve music. This research work deals with automatic identification of Carnatic raga Swaram notes through Data Mining algorithms. The training sets considered for the work are Avarohanam notes of 72 melakartha raga and 212 Janya raga. C4.5 decision tree algorithm, Random Tree and Rule Induction algorithm were utilized to classify the Melakartha raga and the Janya raga. However the Janya raga swaram notes were also investigated through the use of appropriate feature relevance algorithms namely Feature ranking, Correlation based Feature Selection (CFS) filtering, and Fast Correlation based Filter (FCBF) filtering. The Melakartha raga data set was accurately classified with 100% accuracy by all the aforementioned classification techniques while predictor attributes selected through feature ranking algorithm produced nearly 90% accurate classification with Rule Induction algorithm on the Janya raga data.

Umjetnički poticaji kroz proces odgoja i obrazovanja

U prilogu se s različitih motrišta promišlja o estetskim poticajima pojedinih umjetnosti tijekom procesa odgoja i obrazovanja. Ukazuje se na važnost umjetničkog odgoja i obrazovanja na različitim razinama odgojno-obrazovnog sustava. Ističe se kako su različite pedagoške koncepcije tijekom povijesnog razvoja usmjeravale pozornost na razvoj umjetničkog odgoja i obrazovanja. Obrazlaže se kako je dječja stvaralačka igra per se estetska, umjetnička vrijednost, koju stoga treba podržavati, sustavno promatrati i vrjednovati. Promišlja se, također, i o mogućnostima poticanja estetskog senzibiliteta djece osnovnoškolske dobi kroz različite kreativne vizualno-likovne aktivnosti. Važnost tih estetskih aktivnosti promišljamo, posebice, s motrišta intrasubjektivnog odnosno emocionalnog. To ističemo kao ishodište i proces u odgoju i obrazovanju likovnog govora i likovnog stvaralaštva pojedinca.

Show Colleagues Your Creative Side

Back to table of contents Previous article Next article Annual Meeting HighlightsFull AccessShow Colleagues Your Creative SideJoan Arehart-TreichelJoan Arehart-TreichelSearch for more papers by this authorPublished Online:17 Feb 2012https://doi.org/10.1176/pn.47.4.psychnews_47_4_50-bAbstractFreud had a son, Ernst, who was an architect, and a grandson, Lucian, who was a well-known painter, and his great-granddaughter, Jane McAdam Freud, is an acclaimed sculptor working in London. Thus artistic creativity may have coursed through Freud’s blood, even though his main interests were cerebral.This painting won “Best in Show” at the APA Art Association exhibit last year. It is titled “Travels Through Humanity: A Moroccan Man” and was painted by Karen Redding.The APA Art AssociationAnd the same may hold for many psychiatrists: even though their major interests are intellectual, they may still harbor strong creative urges.Are you one of these psychiatrists? Do you write poetry, paint, or engage in some other form of creative activity? If so, you might want to display some of your work at the APA Art Association’s next exhibit, which is being held in conjunction with APA’s forthcoming annual meeting in Philadelphia.The work can be in the following categories: black and white or color photography, ceramics, computer art, crafts, fiber, graphics, jewelry, painting (mixed, oil, or water-based), and sculpture. Up to six entries are permitted.Entries should be brought to the APA Art Association Exhibit on Saturday, May 5, between noon and 3:30 p.m. The exhibit will be located in the Arch Street Concourse, Level 1, Pennsylvania Convention Center. Each artist will be responsible for transporting, displaying, and picking up his or her work. Hanging hooks will be provided, as well as tables for art projects. The hanging of pieces will be coordinated by the exhibit coordinator.The exhibit will be open to all APA meeting registrants on Sunday, May 6, from 10 a.m. to 4 p.m.; Monday, May 7, and Tuesday, May 8, from 10 a.m. to 5 p.m.; and on Wednesday, May 9, from 10 a.m. to 2 p.m. Visitors to the exhibit will be able to vote for their favorite works. However, judging will end on Monday, May 7, at 5 p.m. Winners in each art category will receive ribbons.The APA Art Association is a group of some 70 people. They include APA members, international psychiatrists, spouses or partners, and staff members of APA and of the Canadian Psychiatric Association. The association was founded by a Florida psychiatrist, the late Norman Schulack, M.D., in 1969. “He did gorgeous goldsmith work,” Paul Wick, M.D., president of the association, told Psychiatric News.To exhibit, you need to become an association member. Association membership dues are $30, which includes the cost of exhibiting up to two pieces of art; additional pieces are $5 each.The number of people exhibiting each year has been between 15 and 50, Wick reported. The number of visitors to the exhibit each year runs into the thousands, he added. “Hopefully those who drop by can clear their minds a bit before the next APA annual meeting scientific session and enjoy our art,” he said.Submission information and an entry form are posted on APA’s Web site at http://www.psych.org/MainMenu/EducationCareerDevelopment/Meetings/2012-Annual-Meeting/APA-Art-Association-Tentative-Schedule.aspx?FT=pdf. Questions about the exhibit can be directed to Wick at (903) 561-1840 or [email protected]. ISSUES NewArchived

Gayescas. Historia, naturaleza y artificio

Ramon Gaya did not felt comfortable with the painting of his time for this was prisoner of history and, more specifically, of history as the determiner of all human products and creations. Gaya refuses to put his paintings at the service of history because he suspects that the art that fits in molds fabricated by historiography falls into the category of artistic art; that´s to say that it is an unborn artifice and thus it belongs to culture and not to nature. These judgments on art and his rebellion against that exhausting way of being an artist based on the inauguration of a new historical stage every year, did cost him the title of “untimely”. But the truth is that Gaya has placed in front of us the mirror of the impotence to escape from this time we moderns feel sick and tired of. Gaya thus distinguishes between the time of painting and that of history. “The hour of painting”, the sunset, as Titian said, reveals other hierarchies that art history conceals and confuses. In rescuing the art from the context in which it was enclosed by history, Gaya shows us the life transmitted by painting, which despite not being current, is present and therefore presence. If we make the effort to regard Gaya´s pictures not as art history, we look at them with the innocence of those who takes them as a presence exempted from their topicality, and then we will discover that his paintings are alive. We can therefore say that Gaya’s painting fights against the au courrant. Ramon Gaya was never topical.

Unexpected Parallels: Commonalities between Native American and Outsider Arts

Unexpected Parallels:Commonalities between Native American and Outsider Arts Dyani Reynolds-White Hawk (bio) "Otherances" tell more about the social and historical fantasies of the describers than about the people thus described. —Paul Arnett, "An Introduction to Other Rivers" The fields of outsider art and Native American art, when compared with each other, provide discerning critiques of the ways that mainstream art institutions and their constituents tend to treat groups that have not historically been equal participants in the makeup of Western art history.1 By mainstream institutions, I am referring largely to museums, galleries, and the academy that construct the prevailing value systems of the Western art world referenced as dominant in terms of power and prestige. My intent is to provide a broad analysis that complicates prevailing ideas about Native and outsider art in relationship to fine arts as a framework of reference. The comparative analysis of these polar fields will seek to identify repetitive behaviors of the mainstream art world in dealing with marginalized groups. Through the identification of similar patterns of treatment, we are able to reach an educated understanding of mainstream value systems applied to groups considered "other." [End Page 47] While my arguments may appear ambitious or overly generalized in terms of scope, I argue that a critical analysis of how Native and outsider arts are received has not to date been pursued in the literature.2 Thus my explorations of these intersections may serve to introduce this comparative platform for consideration by future scholars engaging in specific case study analyses. My aim is to introduce readers to the complexities of outsider and Native arts reception, and to likewise assist viewers and artists in being equipped to tackle difficult issues such as race and bias while negotiating relationships between the peripheral and center in various arts worlds. As an artist and as a Native American trained in the higher education system, I am inescapably engaged in the challenging relationship between the fine art world and the Native American art world. In this essay, I am seeking to extract core issues and find evidence of some of the larger challenges that are presented in this relationship of Native Americans and the academy. The African American theologian Cornel West has stated, "I'm as much concerned with how we understand modernity and the dominant culture as with the African-American experience."3 This statement parallels the motivations of this investigation, that through an understanding of the values of the mainstream art world, a greater understanding of self and community in relation to this entity can occur. Establishing Foundational Characteristics and Differences of Native American and Outsider Arts The world of outsider arts, also referred to as self-taught, folk, or vernacular arts, is defined by the characteristics of its makers. It is not restricted to a particular geographic location, race, or national heritage. The artist's primary attribute is defined as a lack of formal training or credentials. Along with this lack of formal training, there is a perceived lack of influence by the field of art history and mainstream communities. Outsider arts are therefore perceived as pure, unadulterated, individualistic forms of innate expression, often falling into various classifications such as rural, poor, less educated, mentally ill or unstable, prisoners, homeless, or any variety of other combinations that socially set them apart from the median. Their otherness is "based more on sociological and psychological factors that are held together principally by commonly made claims by Outsider Art's apologists. . . . This difference is not merely marked by exclusion from the mainstream of the professional (western) art world, but also by exclusion from, or marginalization in relation to, the very culture that supports the market for mainstream art."4 Thus, by the nature of its qualifications, outsider art [End Page 48] can be practiced by anyone fitting the outsider criteria of any race, in any country. Although outsider art is not ethnically based, because of its focus on the biography of its makers, the field has been linked to the category of identity art. Native American art, like that of any other culturally specific group, is similarly defined by the characteristics of the artist. Identity lies at the...

Impact of HIV/AIDS on quality of life of people living with HIV/AIDS in Chitradurga district, Karnataka

HIV/AIDS is fatal illness which leaves the victim vulnerable. Quality of life in individuals living with HIV/AIDS is becoming crucial for measuring commonly used endpoints. The study of psychosocial factors also influences the health outcome of People Living with HIV/AIDS. To assess the Quality of life of PLHA in relation to various socio-demographic and clinical correlates. A community care center in Chitradurga district and it is a Cross sectional study. About 395 PLHAs registered in the centre constituted the sample. WHOQOL - 120 instrument was used for assessing quality of life. The socio demographic factors were also obtained in pre designed proforma. Proportions, Mean, Std deviation, One way Analysis of Variance (ANOVA). The Quality of Life scores for all domains were intermediate for the PLHAs between (10 - 14). The mean scores were highest for psychological domain. There was a significant difference in QOL of PLHA who were on ART and Not on ART in some domains. PLHAs who were literates, married, Single, employed, income more than 1500 not on ART, CD4 count more than 200, earlier stages of HIV, living with spouse and students had high mean scores. Mean difference of QOL scores with duration of ART intake were statistically significant in psychological and Spirituality domains. QOL was found to be determined by education, income, occupation, ART status, duration of taking ART and clinical categories of the disease.

Representing consulship. On the concept and meanings of the consular diptychs

Although the consular diptych does not appear as a distinct category of art until the end of the Roman consulate’s thousand-year history (c. 400–541), it constitutes a primary example of the continuance of Roman honorific tradition, developing concurrently with the division and transformation of the Roman empire and the resurgence of the consulate as the most prestigious office on the cursus honorum. By analysing and interpreting the patterns of motif selection, compositional structure and representational mode in the consular diptychs, it is possible to trace the various contextual factors, cultural and historical, that contributed towards their conception, and to gain valuable insights into the precepts of the late antique ‘ideology of consulship’ that was transmitted through this new visual medium. The present article discusses the different layers of meaning within the consular imagery, conveyed through an increasing elaboration and regularization of form and content, from the basic theme of official apparatus and ceremonial to the more symbolic themes through which the ideal aspects and functions of the Late Antique consulate are expressed, notably the triumphal and regenerative powers figuratively invested in the consul, and the intimate link between these and the ideas of imperial victory and ‘Eternal Rome’.

Thinking Development of Fiber Art due to Installation Art

Although installation art and fiber art are two different modern art categories, as they are both based on sculpt of materials instead of portray, they are usually connected together. With consideration on design, existence form and material concept of installation art, this paper discusses the expansion and performance of these methods in fiber art creation.

Definitions of Art and Fine Art's Historical Origins

ture from Greece and Rome to the present. In Over the past decades, several authors, among particular, whatever happened in the eighteenth them Paul Oskar Kristeller, Larry Shiner, Pierre century, there is continuity as well as change in the Bourdieu, Terry Eagleton, and Paul Mattick, have Western traditions of all the arts mentioned above, argued that is of recent origin—in fact, as well as in the arts of other cultures as they have that it originated (along with its name) in the traveled from antiquity through the shock of the eighteenth-century West.1 They also note that the modern and of globalization, word 'art,' as we now use it in reference to paintMore often than not throughout this history, ings, sculptures, concerts, and the like, has come various arts have also been combined in such to mean approximately the same thing as 'fine art' forms as drama or public celebrations. And in did then. So they may be taken as claiming that many if not all societies, we have reflected on and art is of recent, Western origin.2 Finally, many of categorized human skills, pleasures, and practices these same authors claim that art has an inherin ways that may initially resemble modern group ently ideological function within modern society. ings of the arts; this adds to the initial implausi Most readers of this journal are familiar with these bility of what Kristeller et al. have to say. Thus, views. I find them persuasive, but with the excepthe ancient Greeks had the Muses (though a close tion of some brief remarks about the descent of look at the variety of arts they sponsored, includ art from fine art, I do not defend them in this aring history and astronomy, quickly shows that they tide.3 Rather, I argue that if they are correct, the did not embody our category of art). Classical In project of defining art is misconceived and should dian society reflected on the nature of rasa (var be abandoned, as should arguments (at least by iously translated as relish and transcendental philosophers) about what should and should not enjoyment) as produced by drama, poetry, and count as art. song.5 I begin by clarifying what I am assuming, for it The authors mentioned in my first paragraph is easy to misunderstand what these authors are are aware of these facts and accept them. What saying. On the surface, they appear to contradict can they mean, then, by saying that fine art, in some well-established facts. Human beings have deed art as we now understand it, originated in been drawing and painting, carving and decorateighteenth-century Europe? What is new, they ing, singing and dancing, telling stories and acting say, is the eighteenth-century idea that what came them out for tens of thousands of years. Likewise, to be identified as the fine arts share a unique as Ellen Dissanayake puts it, we have always been essence, in virtue of which they should be called inclined to make things special.4 We have alfine and distinguished from other activities ways valued a wide variety of skills, whether they such as craft and popular entertainment. Also new promote our survival, facilitate social interaction, is the interlocking set of fine art concepts, in or please and entertain us. Most societies have trastitutions, and practices that formed around this ditions within which standards, training, and critcore notion. Following Kristeller and Shiner, I call ical discussion regulate the practice of such skills, all of this (the arts themselves, plus the concepts,

MAPPING VILNIUS AS CREATIVE CITY / VILNIAUS KAIP KŪRYBINIO MIESTO ŽEMĖLAPIO KONTŪRAI

Urban development is increasing the ability to develop a distinct and attractive position in the world. Cities are changing their role as the cultural production sites as well as the life style and creativity become the material for the creative industries development. The creative city is understood as an urban complex, where a variety of cultural activities are an integral part of the urban economy and social life. The concept of creative city has not yet been well established: we can point to even three such concepts, highlighting different agency of the creative city – from the creative city-dwellers to the business enterprises of the creative industries. On the basis of the creative city concept, the article analyses Vilnius city, revealing the most important factors, which promote the creativity of the city: the organizations and activities of Arts category; business enterprises and projects of Media category; active creative and civil communities of the city. The activity of the creative communities takes on an expression in the forms of emerging cultural districts in Užupis, Naujamiestis and Pilaitė. The above-mentioned activities of the categories of creative industries are illustrated on the basis of the data, collected under the development of The Map of Vilnius Creative Industries. The article concludes that the weakest activity in Vilnius city is the economic clustering of the business enterprises of creative industries. Santrauka Miestų raida vis labiau priklauso nuo gebėjimo plėtoti aiškią ir patrauklią laikyseną pasaulyje. Miestai tampa kultūros gamybos centrais, o miestiečių gyvensena ir kūrybiškumas – medžiaga kūrybinių industrijų plėtrai. Kūrybinis miestas suprantamas kaip miesto kompleksas, kuriame įvairios kultūrinės veiklos neatsiejamos nuo miesto ekonomikos ir socialinio gyvenimo. Kūrybinio miesto samprata iki šiol nėra nusistovėjusi: galima išskirti net tris tokias sampratas, išryškinančias skirtingus kūrybinio miesto veiksnius – pradedant kūrybingais miestiečiais, baigiant kūrybinių industrijų verslo įmonėmis. Remiantis kūrybinio miesto samprata, straipsnyje analizuojamas Vilnius, išryškinami svarbiausi miesto kūrybingumą skatinantys veiksniai: menų kategorijos organizacijos ir veiklos; medijų kategorijos verslo įmonės ir renginiai; aktyvios miesto kūrybinės ir pilietinės bendruomenės. Kūrybinių bendruomenių aktyvumas konkrečią išraišką įgauna mieste besiformuojančių kultūros kvartaų pavidalu Užupyje, Naujamiestyje ir Pilaitėje. Minėtų kūrybinių industrijų kategorijų veiklos iliustruojamos duomenimis, kurie buvo surinkti rengiant Vilniaus kūrybinių industrijų žemėlapį. Straipsnyje daroma išvada, kad silpniausiai mieste vyksta ekonominė kūrybinių industrijų įmoni ų klasterizacija.

The Implicit Body as Performance: Analyzing Interactive Art

This paper puts contemporary theories of embodiment and performance in the service of interactive arts criticism. Rather than focusing on vision, structure or signification, the author proposes that we explicitly examine bodies-in-relation, interaction as performance, and “being” as “being-with.” He presents four concrete areas of concentration for analyzing the category of interactive art. The author also examines how such work amplifies subjects and objects as always already implicated across one another.

Art or Porn: Clear Division or False Dilemma?

Art or Porn? The popular media will often choose this heading when reviewing the latest sexually explicit novel, film, or art exhibition. The underlying assumption seems to be that the work under discussion has to be one or the other, and cannot be both. But is this not a false dilemma? Can one really draw a sharp dividing line between the two domains? I think not. I will argue that there is a middle ground between art and pornography and that this middle ground is occupied by numerous paintings, prints, photographs, films, novels and graphic novels. As such, I believe that the phrase 'pornographic art,' far from being an oxymoron, actually designates a legitimate artistic category. There is strong opposition to this view in the philosophy of art today. Both Jerrold Levinson and Christy Mag Uidhir have recently argued that pornography and art are mutually exclusive. So, my first task is to show that their arguments, though well-crafted and carefully formulated, ultimately fail.

Arts funding in New Zealand: a proposal for reform

The article outlines the current system of central government financial support for the arts in New Zealand and critiques this on the basis of the nature of the market failures that justify public support in principle. It is noted that the design of arts funding systems is a neglected topic in Cultural Economics, despite the relatively large sums involved and the unevenness of their disbursement. In New Zealand, on average, more than 40 cents of public money is handed over to arts producers for every dollar that the sector earns in the private market (the “box-office”), but with huge variations for different art categories. Nearly all support is directed at the supply side of the arts, whereas the principles of public finance suggest that funding should be ex post, topping-up revenues earned from the sale of art in the market. The article develops the mechanics of a performance-based arts funding system.

Ludus Populi : The Practice of Nonsense

Focusing on the Fluxus concept-practice of "art-amusement," this essay traces the cross-fertilization of the legacy of experimental art, most notably Marcel Duchamp and John Cage and the popular medium of sports and games. It explores the ways in which intermediality, concretism, and chance operations come together to create a socio-aesthetic practice that, while classifiable as "family entertainment" in the sense that it is accessible to all regardless of age, skill, culture, or education, nevertheless produces a durable "shift in consciousness" usually reserved for the transcendental realm of "high culture." I argue that it is through the deployment of Derrida's "blind tactics" that an equivalent, mutually structuring relationship is created between the hierarchically divided categories of art and entertainment, durable aesthetic satisfaction and instant gratification, and ideality and corporeality/materiality, and that it is due to the dissolution of these formerly antagonistic relationships that "the game" takes on a different shape. This new shape, which is paradoxical and solicits conceptually implausible behavior from the player, redefines the notion of game-playing and its constituent factors: the playing field, the field doxa , the stakes, and the goals, while at the same time creating Bourdieu's nonhegemonic, ludic-concretist game model of social interaction.

Cosa fare del male che si è guardato in faccia?

Aharon Appelfeld, one of the most important Israeli writers, reflects on the multiform nature of evil that those who experienced the Holocaust, as he did, had to face, and he discusses how this experience can be communicated, even in its sensuality, only through literature. Literature – differently form philosophy, historiography, and all other disciplines – “has the capacity to lead the atrocious experience back into the circle of life, to move it from the category of history to the category of art, because only art has the power to get the suffering out of the abyss”.

Contested Performances: At the Crossroads of Local and Global Aesthetic Knowledge and Practice in "Modern" Urban Tamajaq (Tuareg) Theater in Northern Mali

This essay, based upon this author's cultural anthropological field research among the Tamajaq-speaking Tuareg in the town of Kidal in northern Mali, documents diversity even in local voices by examining local concepts of changing aesthetics in contemporary plays widely considered "modern" by Tamajaq-speaking residents, but which are also part of their local performing arts category called isatsa . Some plays emerged from recent NGO and media-directed theatrical programs, but others emerged from more longstanding poetry, songs, and tales. The data reveal a continued valuing of local cultural production, despite multiple factors integrated into its formation, suggesting more broadly that terms and labels in artistic production are always situated, negotiable, and interested. The essay contributes to wider efforts to translate local aesthetics of verbal art performance across cultural knowledge systems, and to explore how local art forms and those who practice them are situated and situate themselves in broader political contexts. Longstanding expressive forms are not simply shaped by local and/or global forces, but are reflected on, exploited, and adapted in a range of processes fueled by ideologies, current events, and political and economic interests.

1/f2 Characteristics and Isotropy in the Fourier Power Spectra of Visual Art, Cartoons, Comics, Mangas, and Different Categories of Photographs

Art images and natural scenes have in common that their radially averaged (1D) Fourier spectral power falls according to a power-law with increasing spatial frequency (1/f2 characteristics), which implies that the power spectra have scale-invariant properties. In the present study, we show that other categories of man-made images, cartoons and graphic novels (comics and mangas), have similar properties. Further on, we extend our investigations to 2D power spectra. In order to determine whether the Fourier power spectra of man-made images differed from those of other categories of images (photographs of natural scenes, objects, faces and plants and scientific illustrations), we analyzed their 2D power spectra by principal component analysis. Results indicated that the first fifteen principal components allowed a partial separation of the different image categories. The differences between the image categories were studied in more detail by analyzing whether the mean power and the slope of the power gradients from low to high spatial frequencies varied across orientations in the power spectra. Mean power was generally higher in cardinal orientations both in real-world photographs and artworks, with no systematic difference between the two types of images. However, the slope of the power gradients showed a lower degree of mean variability across spectral orientations (i.e., more isotropy) in art images, cartoons and graphic novels than in photographs of comparable subject matters. Taken together, these results indicate that art images, cartoons and graphic novels possess relatively uniform 1/f2 characteristics across all orientations. In conclusion, the man-made stimuli studied, which were presumably produced to evoke pleasant and/or enjoyable visual perception in human observers, form a subset of all images and share statistical properties in their Fourier power spectra. Whether these properties are necessary or sufficient to induce aesthetic perception remains to be investigated.

Comment: World without Art

Comment: World without Art

Kendall Walton's 'Categories of Art': A Critical Commentary

Kendall Walton's 'Categories ofArt' is one of the most famous and, arguably, most important papers in modern aesthetics. Despite this, and the various references to it and discussions of it within the literature, there are no general commentaries on this essay. In addition to outlining a general framework for approaching the article, I identify and explicate the two main exegetical issues regarding it. The first concerns how to understand Walton's main thesis that the aesthetic character of artworks is determined, in part, by their 'correct category'. I suggest that the traditional interpretation of Walton's proposal is mistaken, and defend an alternative view at length. The second issue concerns the relationship between Walton's view and competing accounts of the aesthetics of artworks. Here I suggest that Walton's position is unique, contrasting the views of both typical formalists, on the one hand, and ordinary contextualists, on the other, in philosophically significant ways. Careful reflection on this particular issue helps reveal some very important distinctions among aesthetic theories, which have not been previously drawn or emphasized.

침선기법을 이용한 패션일러스트레이션 연구

In the modern Society, the human's way of thinking as well as the new cultural creation has been changing by bringing on a change rapidly. The moderns are demanding humanity and the new cultural cretion through the exchange between the old things and new things by setting material before everything else. The latest trends of today had an effect on the fashion Illustration, a new art category, which gives a new image. This report of research has a purpose which expresses korean images by connecting the korean tradition style to the modern fashion. And we are concerned about the national culture and tradition with the international stream. For this reason I studied these for the purpose of expanding expression area of sewing techniques by applying to fashion Illustration expressing handcraft techniques by natural beauty improving the modern and traditional images, updating, and succeeding to tradition. As the way of studying and contents, I referred to the inside and outside of the country's literatures, these, publications, magazines, or the internet sufing. Firstly, as the theoretical study, I studied a conception and history of the fashion Illustration. I studied the theoretical background of the sewing techniques through the histories, tools, and techniques. The theoretical background of the sewing handicraft is studied through the colors, patterns, materials and sorts. I also and indicated the various works by the domestic designers.