• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.39-45
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• 2012

The purpose of this research is to look into the tea-drinking pictures of the Joseon Dynasty in order to find the unique landscape traits of tea-drinking spaces of the era. A number of tea-drinking pictures were drawn during the Joseon Dynasty period and in most cases, the names of the painters are stated as well. These factors make tea-drinking pictures a seminal source that illustrates the landscape traits of the last Dynasty of Korea. For those pictures contain the main components of landscape such as the tastes of 'Yangban'(noblemen), natural characters, and space traits. Since tea was first introduced in Korea during the Three Kingdom Period, tea-drinking culture has a long history in the country. There have been various studies about tea and many study results have been presented. Few research, however, have looked into tea culture from the point of landscape. Under the premise that tea-drinking pictures of Joseon Dynasty can be a cultural code that explains Korean tea-drinking culture, this thesis looked into those pictures from various angles and analyzed them in order to elucidate the attributes of scenery components of tea-drinking spaces that Koreans have forged and developed, and following results could be found. The Landscape components illustrated in tea-drinking pictures of the Joseon Dynasty can be divided into the element of architecture, the element of water, stone and plants. First, for the element of architecture, it was found that tea-drinking took place in anywhere in Korea without specific tea-drinking buildings or gardens unlike the case of Japan. This has to do with traits of Koreans who were not bound by formality and truly loved nature. Second, for the element of water, water contributed to making harmonious landscape. Third, for the element of stone, it was clear that stone had a practical role in providing comfortable place for lying and enjoying tea-drinking and scenery. Fourth, plants made elegant figure in the landscape and were planted in accordance with their inner meaning. Tea-drinking pictures of the Joseon Dynasty elucidates that when it comes to tea-drinking, Koreans were not obsessed with a formality of tea-drinking, or a set of tea ceremony, which is profoundly different with Japanese, and Koreans did not put a limit on a place for tea-drinking because for Koreans any place they sat could be a great place for tea-drinking.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.2
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• pp.1-14
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• 2021

Ssangsanjae was created in the mid-1800s, It is located at Jiri Mountain to the north and the Seomjin River to the south. This garden has not changed much even though it has passed through the sixth generation since its creation, so it still retains the features of a private garden in the late Joseon Dynasty. This study focused on the changing landscape of Ssangsanjae as a historical garden; through field surveys, interviews and analysis of builder's collection, boards and couplets. Ssangsanjae is largely classified into inner and outer gardens, and the inner is divided into an entry space, a residential space, and a backyard. The backyard consists of Seodangchae, it's garden, Gyeongamdang, and swimming pool, and is connected to the Sado Reservoir area, which is the outer garden. The distinct vegetation landscape of Ssangsanjae are a 13,000m² bamboo and green tea field, Peony(Paeonia suffruticosa Andr. and Paeonia lactiflora var. trichocarpa(Bunge) Stern) planted on both sides of the road that crosses the lawn, the view through a frame(額景) shown by the twisted branches of Camellia and Evergreen spindletree, and a fence made of Trifolia Orange(Poncirus trifoliata) and Bamboo. Ssangsanjae stands out for its spatial composition and arrangement in consideration of the topography and native vegetation. The main building was named by the descendants based on the predecessor's Aho(pseudonym), and it is the philosophical view of the predecessors who tried to cultivate the younger students without going up on the road. The standing stone and white boundary stone built by Mr. Oh Ju Seok are Ssangsanjae's unique gardening facilities. The stone chairs, and swimming pool which were created by the current owner for the convenience of families and visitors also make a distinctive landscape. Ssangsanjae, for residents, was a place for living, exchanging friendships, training himself and seculusion, for children was a place for learning, but now is 'the private garden' where many people can heal themselves. Over the 200 years, the landscape of Ssangsanjae's inner and outer gardens experienced large and small changes. As such, it is necessary to recognize the historical gardens with changing properties as a living heritage. This study is significant in that, as the first study to approach Ssangsanjae in the view of landscape research, it provides basic data on Ssangsanjae as a destination of garden tourism.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Journal of the Korea Society of Computer and Information
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• v.8 no.2
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• pp.51-56
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• 2003

The structuring of Web information supports a strong user side viewpoint that a user wants his/her own needs on snooping a specific Web site. Not only the depth first algorithm or the breadth-first algorithm, but also the Web information is abstracted to a hierarchical structure. A prototype system is suggested in order to visualize and to represent a semantic significance. As a motivating example, the Web test site is suggested and analyzed with respect to several keywords. As a future research, the Web site model should be extended to the whole WWW and an accurate assessment function needs to be devised by which several suggested models should be evaluated.

• Korean Journal of Environment and Ecology
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• v.24 no.6
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• pp.723-734
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• 2010

This study aims to analyze the change in vegetation for 10 years after the construction, targeting Suwoncheon, the first domestic ecological stream construction project. As for the section for the study, the section from Gyeonggi bridge to Youngyeon bridge, the first restoration project section, was targeted. The research districts consisted of 3 districts depending on topographical structure. Investigation check cosisted of cross-sectional topographical structure, vegetation status and the structure of herbaceous plant community. As for the cross-sectional topographical structure of the stream, the width of entire stream was 26.5~28.0m and water channel is 10~20m. The area for hydrophilic space was securing spacious riverside. Upper stream of reservoir beam was shallow and slow in reservoir area above weir. Lower stream of reservoir beam, the width of water channel was narrow and ripples were formed. Among species, 9 plants were planted and 6 species plants including Salix gracilistyla, Phragmites communis and Zoysia japonica were planted at the time of construction. In the water side, there were 2 species, such as Zoysia japonica and Trifolium repens, etc, still remained after seeding at the time of constrcution. The planted plants which were observed through this investigation, were 2 species such as Festuca arundinacea and Dactylis glomerata. Apart from the planted plants, arid climate herbaceous plant such as Setaria viridis and Artemisia princeps var. orientalis formed power and the naturalized species variously emerged in 15 species. For revetment, natural stone stacking method was condicted and Salix gracilistyla, Aceriphyllum rossii, etc were planted. But all the planted plants disappeared and now it was covered with Equisetum arvense and Humulus japonicus. It was because that the base for growth and development of the plants was not constructed at the time of restoration in a way of attaching natural stones onto the concrete base. In the water channel, various wetland species including Typha orientalis, Acorus calamus var. angustatus and Phragmites communis, etc, were planted but only Salix gracilistyla, Phragmites communis and Zizania latifolia remained. As for species of the autochthons, Persicaria thunbergii was dominant. In the lower stream of reservoir beam, Humulus japonicus formed forces. In the hydrophilic space, it was necessary to direct the landscape of in-stream vegetation in cosideration of users. For this, planting Miscanthus sacchariflorus in a community was proposed. In the upper stream of reservoir beam, suplementary screen seeding was necessary so that Zizania latifolia, Typha orientalis and Phragmites communis can fit the depth of water. In the Lower stream of reservoir beam, it was necessary to constantly manage Humulus japonicus so that the wetland autochthons species, such as Phragmites communis and Persicaria thunbergii can establish power more stably.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.42-56
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• 2012

This study was carried out to investigate the construction characteristics and the landscaping design skill for Wiyiam at Ongnyucheon(玉流川) in the rear garden of Changdeok Palace focusing on constructing technique, space composition and transformational process of the site. The results of this study were summarized as follows; First, Wiyiam of Ongnyucheon was constructed as garden ornament which was modified the huge bedrock into the shape of the mountain. The waterfall of Wiyiam was originally made of torrent which water flowed into the bottom, but it was reconstructed to take the effect of Inak(離落: the method to drop water from high place) by carving rock into square shape at the era of King Gojong(高宗). Second, main characteristics of Wiyiam appeared in Donggwoldo was the hill built up with a square pond and ground at the back of Wiyiam and the profound scenery of mountains and stream from the view of Wiyiam. Also, pavilions such as Soyojeong(逍遙亭), Cheongujeong and Taegeukjeong(太極亭) built in Ongnyucheon seemed to be constructed as the spots to appreciate the view and waterfall sound of Wiyiam. Also the spots were not bounded by the function of creating special water systems such as Cheongujeong pond and Taegeukjeong pond and showed the outstanding landscape design skill to make people feel unusual interest from each spot. On the other hand, this study considered that the evening scenery of Wiyiam, beautiful sound of falling water, unusual water system with beautiful plant materials were landscaped for the function of the psychological peace and stability to the appreciators. Lastly, the extreme change of space composition in Ongnyucheon was assumed as a strategy to improve the existing poor drain environment by confirming that the mountain stream and wall of Soyojeong were removed and drainage in both side of Soyojeong was installed in the 21th year of King Gojong's reign(1884).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.426-432
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• 2008

We introduce a method of rendering a scene lying 3D objects which is like that artist draw on a canvas by brushing. Painting is the art area presenting something created by color and line on 2D plane. We are brushing on billboards on screen space for the 2D brushing effect according to the definition of "Painting". Brushing orientation is haven to rotate for preventing the orientation in the first scene in the case that object or camera are moving. If the brushing isn't rotated, shower-door effect is watched on the scene as undesirable result We present a brushing rotating method for keeping the orientation changing the direction of view and object rigid animation. The brushing direction is computed with Horn's 2D similarity transform by least-square solution. We watched the changing brushing to track the motion of object and view.

• The Journal of the Korea Contents Association
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• v.20 no.8
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• pp.513-521
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• 2020

Launched in August, 2016, the online public benefit project ANT FOREST has planted more than one hundred million trees in desertification areas and is currently continuing on with its activities. It is a fruit of online communications network development, and the public benefit project based on this puts more emphasis on the spirits of public interest rather than the investments of public services, unlike traditional public benefit activities. Hence the purpose of this study is to figure out the interaction between the users supporting the online public benefit and the public benefit progress online. The study was divided into 4 stages in order to find out the interaction, key factors for users to continue to support online public interest. First, preceeding studies on online public benefit will be reviewed to understand the characteristics of online public benefit. Second, determine the public benefit nature of ANT FOREST and investigate the project progress. Third, review the usage rate of ANT FOREST and categorize the properties of users. Fourth, interview was conducted to direct the interaction between the online public benefit project and the user. In conclusion, the online public benefit project completes the public benefit process through the user, the operator, and the supporter, the important factor connecting the energy connecting the process in cyber space and the public benefit activity in reality is the sense of participation, and the user continues the public benefit project through this sense of participation.

• Cartoon and Animation Studies
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• s.19
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• pp.113-126
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• 2010

The digital cartoons market is looking for a new growth momentum as the radical increases of the demands and markets about the mobile contents with portable instrument popularization. The conventional digital cartoons markets which are based on web-toon, page viewer cartoons and e-paper cartoons have been studied various fields to overcome some limitations such as the traditional cartoons had. The mobile cartoons which have been changed more and more, have some canvas limitations due to the mobile screen size. These limitations lead to the communication problems between the cartoonists and the subscribers and resulting some obstacles of mobile cartoons activations. In this paper, we developed a authoring tool applied the Screen Flow method to overcome inefficiency of conventional authoring methods. This proposed method can reflect the cartoonists' during the process of authoring mobile cartoons, thereafter we studied about the authoring method of mobile cartoons and its effects. For the convenience of users creating and distributing content in a way has been studied.