• Cartoon and Animation Studies
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• s.12
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• pp.1-12
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• 2007

The long-term stagnation in the country involving missing it is starting from the late 1990s accumulated on the common vision. The government has, since 2002, cartoon comics industry nurture long-term industrial development of five-year plan, 346.7. During that period of unprecedented material support to the government's sweeping received. Upcoming in 2008 is the second long-term development plan will be effective. The temperature inside and outside the government, however, various tax and go to feel quite differently. The first plan is merely a period of enforced projects listed are only fit for Panathinaikos has endorsed this general trend, yirugo diagnosis. But fundamentally, the exact diagnosis is necessary for the long-term stagnation. Children's Learning Results cartoon wepmanhwawa not thrive households. Comics readers about the consumption pattern is changing. Therefore, long-term plan for the development of cartoon industry only a few government budget plan is not the government write 73 gala, companies and the private sector are coming together to plan and worry that the plan should be a comprehensive and bevels. In addition, through the selection and concentration to increase efficiency. You will probably need to strengthen the capabilities of our private organizations, it is a priority. Furthermore, the government's financial and policy support for the lobbying power also lead to an increase in betting. It features a think tank to study the policy framework for the establishment and promotion assume the ultimate proposal includes a cartoon film cozy confines of the legislation that parallels activities in the various proposals.

• Analytical Science and Technology
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• v.26 no.4
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• pp.245-255
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• 2013

Identification of paint on victim's clothing and a vehicle are valuable for forensic examination when investigating hit-and-run accidents. Automotive paints on clothes are used to prove a victim caused by traffic accident and to identify a suspected vehicle. The comparison of transferred paints between victim's vehicle and suspected vehicle can be an important evidence in reconstructing the accident situation and in discovering the truth. The paints such as white, yellow, red, blue, or black are hard to examine particle shape under a stereomicroscope because of it is not included aluminum, pearl, and mica flakes in the pigments. The aim of this study under forensic aspect is to compare pigment among basecoat layers of solid paints by identifying inorganic elemental compositions and binder resins of pigments using by micro-FT-IR and micro-XRF spectrometer. The pigment samples were analyzed by using two methods of FT-IR: Reflectance and ATR method. Two methods of FT-IR were useful in discriminating binder resins of pigments by comparing characteristic peaks and patterns of spectra. Also, XRF spectrometer could identify the elemental compositions in inorganic pigments of trace paints which are difficult to compare the identification by FT-IR.

• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• Journal of the Geological Society of Korea
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• v.54 no.6
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• pp.615-630
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• 2018

Basin analysis is a research field to understand the formation and evolution of sedimentary basins. This task requires various geoscientific datasets as well as numerical and graphical modelling techniques to synthesize results dimensionally in time and space. For basin analysis and modelling in a comprehensive workflow, BasinVis 1.0 was released as a MATLAB-based program in 2016, and recently the software has been extended to BasinVis 2.0, with new functions and revised user-interface. As a case study, this work analyses the southern Vienna Basin and visualizes the sedimentation setting and subsidence evolution to introduce the basin modelling functions of BasinVis 2.0. This is a preliminary study for a basin-scale modelling of the Vienna Basin, together with our previous studies using BasinVis 1.0. In the study area, during the late Early Miocene, sedimentation and subsidence are significant along strike-slip and en-echelon listric normal faults. From the Middle Miocene onwards, however, subsidence decreases abruptly over the area and this situation continues until the Late Miocene. This is related to the development of the pull-apart system and corresponds to the episodic tectonic subsidence in strike-slip basins. The subsidence of the Middle Miocene is confined mainly to areas along the strike-slip faults, while, from the late Middle Miocene, the depocenter shifts to a depression along the N-S trending listric normal faults. This corresponds to the regional paleostress regime transitioning from NE-SW trending transtension to E-W trending extension. This study applies various functions and techniques to this case study, and the modelled results demonstrate that BasinVis 2.0 is effective and applicable to the basin modelling.

• Korean Journal of Culture and Social Issue
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• v.14 no.2
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• pp.41-61
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• 2008

This study was performed to investigate the North Korean defectors's depression through the CES-D and a projective test simultaneously. So 40 North Korean defectors and 40 South Koreans participated in this study. The results are the following. First, the North Korean defectors demonstrated more higher CES-D scores than the South Koreans, while there were not significant differences in the Rorschach depression-related indexes, DEPI, CDI, S-CON between two groups. Second, at the analysis of the sex difference effect, women among the North Korean defectors showed the most high CDI index scores. In addition, we analyzed the mean differences between two groups for morbid content, shading response, achromatic response, human movement response, form dimension response, Lamda, and the number of total response. However, there are not significant differences between two groups for those variables, except for form dimension(FD) response. It suggested the probability that the North Korean women defectors could experience more psychological distress underlyingly than the North Korean men defectors. Third, most importantly, the correlation between CES-D and DEPI in the Rorschach test was significantly different in the two groups(the North Korean defectors and the South Koreans). In conclusion, the self-report of the North Korean defectors on depression could be exaggerated. So we should be cautious to interpret the self report results of the North Korean defectors.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1837-1847
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• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.232-245
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• 2021

The present study is about a brand development strategy that utilizes Korean traditional patterns. The global culturenomics phenomenon confirms the value of the cultural aspects of design when a national brand is established. People succeed with their unique aesthetic sense and reinterpret it in a modern view, and this design acts as today's national brands. In this way, people used traditional patterns and original designs, along with regional characteristics and formative style, in developing their designs. However, due to recent changes in the global environment, modern people live in an "untact" world, and consumption culture shifted toward online marketing. In this environment, where one is isolated from social activities, there needs to be a strong image that can dramatically change the mood of one's home. I would like to re-examine the Dan-Chung pattern, whose painting depends on the aesthetic characteristics of architecture to protect the wooden members of the framework in traditional architecture. The pattern and color of Dan-Chung, coated in traditional architecture, differs by the type of construction used, which includes a palace, a Buddhist temple, and a Confucianism Dan Chung. The Geummoon pattern contains aesthetic factors to add solemnity to the Main Buddhist Halls, which contain Buddha. This is a new medium that continues the current traditions instead of remaining in the past. Among different Dan Chung patterns, Geummoon has magnificent decoration consisting of the highest grade materials and unique composition; therefore, it is suitable to be reinterpreted in modern terms. The same pattern can be interpreted in different ways with different colors, so there is a great aesthetic impression in the Geummoon pattern. The value of preservation for exploration and theoretical study of the traditional pattern is important, but recreating the pattern into modern formative art can present a new angle of view and national brand, bearing pride in our cultural assets. The study used multidimensional molding methods for realistic presentation after going through the two-dimensional design process. The significant value of Korean molding beauty which hangs onto the past will play a crucial role in establishing our national brand.

• Journal of Intelligence and Information Systems
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• v.29 no.4
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• pp.271-286
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• 2023

The global COVID-19 pandemic has transformed face masks from situational accessories to indispensable items in daily life, prompting a shift in public perception and behavior. While the relaxation of mandatory mask-wearing regulations is underway, a significant number of individuals continue to embrace face masks, turning them into a form of personal expression and identity. This phenomenon has given rise to the Fashion Mask industry, characterized by unique designs and colors, experiencing rapid growth in the market. However, existing research on masks is predominantly focused on their efficacy in preventing infection or exploring attitudes during the pandemic, leaving a gap in understanding consumer preferences for mask design. We address this gap by investigating consumer perceptions and preferences for two prevalent mask designs-horizontal fold flat masks and vertical fold flat masks. Through a comprehensive approach involving surveys and eye-tracking experiments, we aim to unravel the subtle differences in how consumers perceive these designs. Our research questions focus on determining which design is more appealing and exploring the reasons behind any observed differences. The study's findings reveal a clear preference for vertical fold flat masks, which are not only preferred but also perceived as unique, sophisticated, three-dimensional, and lively. The eye-tracking analysis provides insights into the visual attention patterns associated with mask designs, highlighting the pivotal role of the fold line in influencing these patterns. This research contributes to the evolving understanding of masks as a fashion statement and provides valuable insights for manufacturers and marketers in the Fashion Mask industry. The results have implications beyond the pandemic, emphasizing the importance of design elements in sustaining consumer interest in face masks.