• Cartoon and Animation Studies
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• s.46
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• pp.85-106
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• 2017

With the media's shift into the digital era in the 2000s, comic book publishers attempted a transition into the new medium by establishing a distribution structure using internet networks. But that effort shied from escaping the parallel-page reading structure of traditional comics. On the other hand, webtoons are showing divers changes by redesigning the structure of traditional sequential art media; they tend to separate and allot spaces according to the vertical scroll reading method of the internet browser and include animations, sound effects and background music. This trend is also in accordance with the preferences of modern readers. Modern society has complicated social structures with the development of various media; the public is therefore exposed to different stimuli and shows characteristics of differentiated perceptions. In other words, webtoons display more relevant and entertaining characteristics by inserting sounds and using moving texts and characters in specific frames, while traditional comics require an appreciation of withdrawal and immersion like other published media. Motions in webtoons are partially applied for dramatic tension or to create an effective expression of action. For example, hand-drawn animation is adopted to express motions by dividing motion images into many layers. Sounds are also utilized, such as background music with episode-related lyrics, melodies, ambient sounds and motion-related sound effects. In addition, webtoons provide readers with new amusement by giving tactile stimuli via the vibration of a smart phone. As stated above, the vertical direction, time-based nature of animation motions and tactile stimuli used in webtoons are differentiated from published comics. However, webtoons' utilization of innovative techniques hasn't yet reached its full potential. In addition to the fact that the software used for webtoon effects is operationally complex, this is a transitional phenomenon since there is still a lack of technical understanding of animation and sound application amongst the general public. For example, a sound might be programmed to play when a specific frame scrolls into view on the monitor, but the frame may be scrolled faster or slower than the author intended; in this case, sound can end before or after a reader sees the whole image. The motion of each frame is also programmed to start in a similar fashion. Therefore, a reader's scroll speed is related to the motion's speed. For this reason, motions might miss the intended timing and be unnatural because they are played out of context. Also, finished sound effects can disturb the concentration of readers. These problems come from a shortage of continuity; to solve these, naturally activated consecutive sounds or animations, like the simple rotation of joints when a character moves, is required.

• Journal of the Mineralogical Society of Korea
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• v.22 no.4
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• pp.313-324
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• 2009

We explore the effect of particle shape and size on 3-dimensional (3D) network and pore structure of porous earth materials composed of glass beads and silica gel using NMR micro-imaging in order to gain better insights into relationship between structure and the corresponding hydrologic and seismological properties. The 3D micro-imaging data for the model porous networks show that the specific surface area, porosity, and permeability range from 2.5 to $9.6\;mm^2/mm^3$, from 0.21 to 0.38, and from 11.6 to 892.3 D (Darcy), respectively, which are typical values for unconsolidated sands. The relationships among specific surface area, porosity, and permeability of the porous media are relatively well explained with the Kozeny equation. Cube counting fractal dimension analysis shows that fractal dimension increases from ~2.5－2.6 to 3.0 with increasing specific surface area from 2.5 to $9.6\;mm^2/mm^3$, with the data also suggesting the effect of porosity. Specific surface area, porosity, permeability, and cube counting fractal dimension for the natural mongolian sandstone are $0.33\;mm^2/mm^3$, 0.017, 30.9 mD, and 1.59, respectively. The current results highlight that NMR micro-imaging, together with detailed statistical analyses can be useful to characterize 3D pore structures of various porous earth materials and be potentially effective in accounting for transport properties and seismic wave velocity and attenuation of diverse porous media in earth crust and interiors.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.44-55
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• 2012

This study is to interpret how landscape aesthetic characteristics of moderation, which is the point of human-oriented neo-confucianism vision, are projected to the landscape organization of a Dodong-SeoWon, known for its overflow to neo-confucianism grounds and standards among domestic SeoWon. The aspects of neo-confucianism discussion in the shape of Dodong-SeoWon with the beauty of from and contents dominating the landscape of Dodong-SeoWon different from constructive completeness as 7 external and internal landscape organization including placement, circulation, setting, vista, fencing, naming, and decoration are as follows. The left direction of Dodong-SeoWon, part of external organization, is the result of landscape organization that emphasized the stage of moderation through the unification of man and nature by naturalizing natural direction to human-oriented directions. Important aspects to rule external orders and standards of Dodong-SeoWon are principles of one classes based on ranks and bilateral symmetry that is the unity of setting and circulation landscape organization from penetrating the spirit of moderation with no bias. By securing territoriality by fencing the unity of verticality and horizontality, the landscape organization to reach moderation is expressed. Meanwhile, Suwoloo(水月樓) perceived on the floor of central assembly hall, the formation of time frame from roof piles of Hwanjumun(喚主門) as well as pilars of Jungjeongdang(中正堂), and rime link method inducing visual balance and openness through segment, combination, and others are vista organization that show the ideality of unique neo-confucianism building. Also as part of landscape organization contents. semantically, building name including arrangement from Taegukdoseol, ideological naming following the name of Ssanggye-SeoWon, which is the former body, the name of the hall symbolizing the transfer of neo-confucianism enlightenment, impartiality with no bias, as well as Geoinjae(居仁齋) and Geoijae(居義齋) based on olympic, are also results of applying neo-confucianism standards. Additionally. the SeoHoe(瑞花) expressing the change of IleumIlyang(一陰一陽) on the stylobate of Jungjeongdang, Saeho(細虎) which goes up and down, as well as Simul made of four dragons, are artistic expression of the moderation that symbolizes the harmony of ying and yang with no exceeding or insufficiency. Humorous and unique rocks and stones evenly arranged in all spots of Dodong-SeoWon are to promote anti-strict organization by offsetting the image and external order of the lecture hall as strict as it is, and this is very ironic as it is the other landscape organization in different dimension as well as the expression of moderation.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.26 no.1
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• pp.11-36
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• 2021

The solar annual (Sa) and semiannual (Ssa) tides account for much of the non-uniform annual and seasonal variability observed in sea levels. These non-equilibrium tides depend on atmospheric variations, forced by changes in the Sun's distance and declination, as well as on hydrographic conditions. Here we employ tidal harmonic analyses to calculate Sa and Ssa harmonic constants for 21 Korean coastal tidal stations (TS), operated by the Korea Hydrographic and Oceanographic Agency. We used 19 year-long (1999 to 2017) 1 hr-interval sea level records from each site, and used two conventional harmonic analysis (HA) programs (Task2K and UTide). The stability of Sa harmonic constants was estimated with respect to starting date and record length of the data, and we examined the spatial distribution of the calculated Sa and Ssa harmonic constants. HA was performed on Incheon TS (ITS) records using 369-day subsets; the first start date was January 1, 1999, the subsequent data subset starting 24 hours later, and so on up until the final start date was December 27, 2017. Variations in the Sa constants produced by the two HA packages had similar magnitudes and start date sensitivity. Results from the two HA packages had a large difference in phase lag (about 78°) but relatively small amplitude (<1 cm) difference. The phase lag difference occurred in large part since Task2K excludes the perihelion astronomical variable. Sensitivity of the ITS Sa constants to data record length (i.e., 1, 2, 3, 5, 9, and 19 years) was also tested to determine the data length needed to yield stable Sa results. HA results revealed that 5 to 9 year sea level records could estimate Sa harmonic constants with relatively small error, while the best results are produced using 19 year-long records. As noted earlier, Sa amplitudes vary with regional hydrographic and atmospheric conditions. Sa amplitudes at the twenty one TS ranged from 15.0 to 18.6 cm, 10.7 to 17.5 cm, and 10.5 to 13.0 cm, along the west coast, south coast including Jejudo, and east coast including Ulleungdo, respectively. Except at Ulleungdo, it was found that the Ssa constituent contributes to produce asymmetric seasonal sea level variation and it delays (hastens) the highest (lowest) sea levels. Comparisons between monthly mean, air-pressure adjusted, and steric sea level variations revealed that year-to-year and asymmetric seasonal variations in sea levels were largely produced by steric sea level variation and inverted barometer effect.

• Asia Marketing Journal
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• v.12 no.4
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• pp.165-181
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• 2011

In 2005, Yuhan Kimberly found interesting points in the existing customers' U&A survey on the kitchen towel. The usage of Korean consumers is usually restricted to getting rid of the oil from the fans and the fried food. This usage limits could be the barrier to the diffusion of kitchen towel. Although consumers were worried about the hygiene situations about the dishcloth, they also percieved that the existing paper kitchen towels were short of something to soothe their inconveniences. As a result, the company made a decision to seek out the solution for the consumers' worries. The relative shortage of the paper kitchen towel compared to that of the unhygienic and inconvenient dishcloth was its lack of water-endurance. The dishcloth could be reliable in the wet environment which is very common in Korean kitchen, whereas the paper kitchen towel was perceived as very weak and unreliable in removing water form the dishes and the sink. To overcome the common sense of the consumers, it is important to shift the consumers' perception of the kitchen towel category. It is needed to expand the usage time from one time to several times in a day. So it is needed to redesign the customers' kitchen life. The company adopted the brand "Scott^®" to meet the global brand strategy of the parent company, Kimberley Clark. This brand was also adopted and made a succesful launch of the similar product lines in Latin America. Furthermore, to make an emphasis on the differentiation from the existing paper kitchen towels, the company made the slogan, "Scott^® washable kitchen towel." This slogan was designed to expand the familiar product image of convenient paper towels to water-resistance. As a result, consumers show the changes in usage behavior of paper towels and apply them for more various purposes such as cleaning the decks and tables. This change results in the rapid sales increase of "Scott^® washable kitchen towel."