• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.131-132
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• 2018

빈센트 빌렘 반 고흐(1853-1890)는 후기 인상주의를 대표하는 인물이다. 후기 인상주의는 프랑스 미술사에 있어 인상주의를 뒤이은 미술 사조로 20세기 예술 중 특히 야수파와 표현주의에 지대한 영향을 끼쳤다. 반 고흐의 인생과 작품은 시대를 초월해 많은 문학, 영화, 소설, 시, 음악 등을 통해 소개되고, 재현되었다. 본 논문은 이러한 고흐의 인생과 작품세계가 유화 애니메이션을 통해 어떻게 각색되고 재현되는지 살펴보고자 한다. 이를 위해 후기 인상주의 배경과 특성 그리고 고흐의 고독한 일생 및 작품세계에 대한 문헌고찰을 진행하고, 이를 바탕으로 유화애니메이션 에 대해 사례분석을 진행한다.

• The Journal of the Korean dental association
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• v.39 no.11 s.390
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• pp.892-897
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• 2001

인상(impression)은 치과임상에서 매일같이 반복되는 과정이다. 본문에서는 주로 전치부심미보철을 위한 인상채득 방법에 대해서 알아보고자 한다. 모든 종류의 보철물에서 인상 채득은 필수적이르므로 인상 재료의 여러가지 성질과 그 특성에 대해서 잘 알아야 할 필요가 있다. 치은연하 변연의 경우에 정확한 인상 채득을 위해서는 치은압배가 필요한데, 여기에서는 지대치삭제 요령, 치은압배술 및 인상채득시 주의사항에 대해 살펴보기로 한다.

• The Journal of the Korea Contents Association
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• v.6 no.12
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• pp.309-323
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• 2006

Before the appearance of luc-media image, art is performed by the hands of man. That was the best of the reality and the absolute standard of reality. However the appearance of luc-media image brings together the scientific thoughts on realism, which gave birth to 'impressionism' where 'light' becomes the most important part in art as well as in luc-media image and analyzed scientifically. In this paper, I'd like to analyze 5 paintings of Monet, a representative of the impressionism, chronically and present the various aspects of luc-media image as follows; 'picture the present moment', 'picture the light', 'picture the sound and movement', 'picture in the several frames', 'picture continuous frames'. These image phenomenon presented in this paper are mainly concerned with the photograph image, because the time when impressionists entered the stage was the age of photograph image, accordingly there are a little difference from digital image.

• The Journal of the Korean dental association
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• v.24 no.12 s.211
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• pp.1021-1025
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• 1986

총의치인상이란 경조직의 인상과는 달리 연조직 즉 기능이나 압력하에서 변화하는 의치지지조직 및 주의조직에 대한 인상이다. 따라서 의치지지조직의 상태, 인상재의 선택, 술자의 술식등에 의해서 동일한 환자에게서도 판이하게 다른 인상이 나올 수 있다. 즉 경조직의 인상처럼 채득하는 것이 아니라 술자의 의도대로 만들어지는 인상인 것이다.

• Proceedings of KHEA Conference
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• 2007.06a
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• pp.49-49
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• 2007

• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.259-264
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• 2006

Some appearances of the result images from the researches on NPR(Non Photorealistic Rendering) look like contrary to the attributes of the real painting. As they are based on only the technical approach rather than the aesthetic and accurate analysis of the real painting which they modeled. Therefore the purpose of this paper is the abstraction of the exact features from the related real painting, the redefine of them applicable to the process, and the embodiment of the painterly NPR algorithms. This paper modeled the Impressionism which were originated in the France at the late nineteenth century. Accordingly, at first, I analyzed the general features of oil paintings and Impressionism paintings, and according to this analyses, I adjusted them to engineering elements(the direction, length, width, texture and speed of stroke, the edge and region of object, depth information and color etc) and programmed. I emphasize the importance and potentiality of the collaboration of artist and technician in the NPR research through the results in this paper.

• The Journal of the Korea Contents Association
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• v.17 no.5
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• pp.153-164
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• 2017

This research concurrently conducts literature review and quantitative research methodology in order to compare aesthetic experience of and . From the perspective of viewing attitudes, two types of perception equally coexist in both exhibitions: convergent perception is predominant over distracted perception in IL while distracted perception is higher than convergent perception in MIE. However, the influence of convergent perception on the degree of satisfaction and immersion is proved only in MIE. In terms of roles of viewer, there is a tendency to weigh on passive role in both exhibitions. In particular, it is worth noting that the role is relatively high in MIE. The role of viewer do not correlate with on the degree of satisfaction and immersion, as well as modes of perception. The elements of aesthetic experience are highly rated and the use of previous knowledge acts as a positive influence on the role of viewers in IL. Through this study, we witness the fact that visitors who are familiar with traditional artworks depend upon both modes of perception as well as passive role of viewer in the digital exhibition. In conclusion, remediation through digital technology has blurred the boundary of the dichotomy of a viewing attitude and a role of viewer depending on exhibit media, consequently MIE bears both natures of traditional artworks and digital media.

• The Korea Swine Journal
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• v.28 no.11 s.327
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• pp.185-189
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• 2006

• Fashion & Textile Research Journal
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• v.15 no.4
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• pp.514-522
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• 2013

This study reviews the principles for the techniques of Impressionist paintings as well as analyzed contemporary fashion designs with a focus on a motif-building technique based on the laws of a screen equivalent as a visual formative approach. We provide design principles based on fashion design painting techniques. Previous research on the laws of the screen equivalent of Impressionist paintings were studied and a qualitative analysis was conducted on fashion design cases from 2011, 2012 S/S and F/W collections. The analysis resulted in the following outcomes. First, the development of new motifs were found directly correlated to the creativity of design if it was a motif-building design. Second, in the selected fashion design cases, cutting lines and details were covered by motifs and their shapes collapsed in regards to overall visual uniformity so that specific details were hard to identify. Third, clothing shapes are recognized the changing colors of motifs and not through construction pattern lines; therefore, the expressions of diverse visual forms were available without being disturbed by construction pattern lines. This is deemed equivalent to an Impressionist painting style that depicts shapes with colors instead of lines. Lastly, the cases covered in this study have created new visual aspects that replace the stereoscopic spatial depth of clothes with a 'sensuous surface'. The pleasures derived from the sensuous surface are deemed equivalent to the visual pleasures created by Impressionist paintings.

• Journal of Fashion Business
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• v.22 no.4
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• pp.76-92
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• 2018

The purpose of this study is to find the meaning of women's fashion in the city culture of Paris in the nineteenth century by examining paintings by the Impressionists. The research method was based on literature survey and visual examination paintings, 224 paintings(by ${\acute{E}}douard$ Manet, James Tissot, Edgar DeGas, Gustave Cailleboat, Jean $B{\acute{e}}raud$, Pierre-Auguste Renoir) were analyzed in this study. The results are as follows: In the nineteenth century, Paris was a new city with new department stores. Department stores were centers of consumer culture, where the power of capital appeared rather than class. The spatial backgrounds of Impressionist paintings were places where they could see the consumption and leisure culture of urban people, such as outdoor parks, cafes, theaters, ballrooms, bars, streets, and the boats. As for the characteristics of women's fashion in paintings, it was found that various changes of artificial silhouettes were developed. Various frills, ruffles, gatherings, and pleats were thought to have been made by machines. In the urban space, many of the women's costumes stood out because of the black color. Not only the black color came to represent widows and mourning but the black outfits worn by women enhanced their sensual appearances. Women's fashion expressed in Impressionist paintings eventually contained a modern meaning that changed from 'class symbol' to 'expression of taste'. And the symbol of consumer and leisure culture showed, and a Demimonde's fashion became a trendsetter, and painters were used as an important element expressing modernity.