• Journal of Forest and Environmental Science
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• v.17 no.1
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• pp.1-17
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• 2001

Forming a part of "Cooperative Practical Study for the Modernization of the Management of National Forest", this study was conducted to provide overall ecological information for the natural regeneration of major tree species on the basis of community structural attributes in the deciduous forest ecosystem. Followings are summarized characteristics of the natural regeneration for the selected tree species. Betula costata : Although large number of seeds are dispersed by wind, they require mineral soils to germinate. Thick litter layer could be an obstacle to germinate. After germination, the seedling requires large amount of light for successful establishment. Acer mono : Characterized by high shade tolerance and weak drought resistance, the seedling should be overcasted with more than 50% of canopy coverage. High stand density should be maintained to produce good quality of timber. The potential of coppice may be high. Ulmus laciniata : Since this species needs high rate of troll moisture and light, around 60% of canopy coverage should be maintained to retain moisture and incoming light. The competition with other vegetation should be removed for the favor of successful seedling establishment. Fraxinus mandshurica : This species requires moist mineral soils to germinate. After germination, the seedling needs large amount of light and moisture for successful establishment. Site preparation should be applied to reduce competition with weedy vegetation. Fraxinus rhynchophylla : Interval of large seed crops may be highly varied. Thick litter layer could be an obstacle to germinate. Site preparation should be applied to reduce competition with weedy vegetation so as to achieve successful seedling establishment. Quercus mongolica : Including the difficulty of seed supply by the consumption, thick litter layer and mountain bamboo cover could be the obstacle to germinate. More than 50% of relative light intensity is necessary to achieve successful seedling establishment. Kalopanax pictus : Thick litter layer could be an obstacle to germinate. The seedling needs large amount of light and moisture for successful establishment. Abies holophylla : In spite of high shade tolerance, the growth rate in sapling stage may be extremely slow. Cornus controversa : Seeds (drups) are consumed and dispersed by animals, tending to be not sufficient in seed supply. This species requires large amount of light for successful germination and seedling establishment. Tilia amurensis : The difficulty of seed supply might be expected with low seed purity and double dormancy. Since thick litter layer could be an obstacle to germinate, the species requires moist mineral soils for successful germination. The potential of coppice may be extremely high.

• Restorative Dentistry and Endodontics
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• v.20 no.2
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• pp.699-720
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• 1995

This study was conducted to evaluate the effect of benzalkonium chloride solution as a wetting agent instead of water on dentin bonding with NTG-GMA/BPDM system (All-bond 2, Bisco.) and DSDM system (Aelitebond, Bisco.). Benzalkonium chloride solution is a chemical disinfectant widely used in medical and dental clinics for preoperative preparation of skin and mucosa due to its strong effect of cationic surface active detergent. Eighty freshly extracted bovine lower incisor were grinded labially to expose flat dentin surface, and then were acid-etched with 10 % phosphoric acid for 15 second, water-rinsed, and dried for 10 second with air syringe. The specimens were randomly divided into 8 groups of 10 teeth. The specimens of control group were remoistured with water and the specimens of experimental groups were remoistured with 0.1 %, 0.5 %, and 1.0 % benzalkonium chloride solution respectively. And then, the Aelitefil composite resin was bonded to the pretreated surface of the specimens by use of All-bond 2 dentin bonding system or Aelitebond dentin bonding system in equal number of the specimens. The bonded specimens were stored in $37^{\circ}C$ distilled water for 24 hours, then the tensile bond strength was measured, the mode of failure was observed, the fractured dentin surface were examined under scanning electron microscopy, and FT-IR spectroscopy was taken for the purpose of investigating the changes of the dentin surface pretreated with benzal konium chloride solution followed by each primer of the dentin bonding systems. The results were as follows : In the group of bonding with NTG-GMA/BPDM dentin bonding agent(All-bond 2), higher tensile bond strength was only seen in the experimental group remoistured with 0.1 % benzal konium chloride solution than that in water-remoistured control group(p<0.05). In the group of bonding with DSDM dentin bonding agent (Aelitebond), no significant differences were seen between the control and each one of the experimental group(p<0.05). Higher tensile bond strength were seen in NTG-GMAIBPDM dentin bonding agent group than in DSDM dentin bonding agent group regardless of remoistur ization with benzal konium chloride solution. On the examination of failure mode, cohesive and mixed failure were predominantly seen in the group of bonding with NTG-GMAIBPDM dentin bonding agent, while adhesive failure was predominantly seen in the group of bonding with DSDM dentin bonding agent. On SEM examination of fractured surfaces, no differences of findings of primed dentin surface between the groups with and without remoisturization with benzal konium chloride solution. FT-IR spectroscopy taken from the control and the experimental group reve::.led that some higher absorbance derived from the primers binding to dentin surface was seen at the group pretreated with 0.1 % benzal konium chloride solution than at the control group of remoisturizing with water.

• Journal of Environmental Impact Assessment
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• v.32 no.3
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• pp.166-175
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• 2023

This study aims to identify the cause of the red-water occurrence (the phenomenon of water being red) that occurs at some points and sections of rivers in Yongin City. As a result of conducting a preliminary investigation, total three sites were selected as the investigation point as it was found that the red-water occurrence continued. As a result of the investigation, it is judged that the cause of the red-water in Yongin-city river is due to the soil color and iron content of the region. JPS, SBS, and JJS sites all showed that the color of soil is mainly consist of reddish brown and red-yellow. The average Fe concentration was 13.75 mg/L, 10.85 mg/L, and 1.31 mg/L, for each sites, and considering that the Fe concentration in general river water was less than 0.5 mg/L, it was confirmed that the concentration was quite high. At the JPS and JJS points, the red-water occurrence occurred mainly in stagnant places, which is believed to be strengthened by the reaction of organic and microorganisms. In the case of SBS, the wateris red, but as a result of observing the actual color, it is judged that the iron component deposited in the pipe causes an optical illusion with a deep red color. In addition, it is believed that the iron concentration can be reduced to the general river water concentration range by removing the particulate iron component through a decrease of more than 95% as a result of filtering with glass fiber filter with particulate iron. As a result of this study, it is necessary to manage the river to maintain the flow, and it is believed that the occurrence of red-water at the survey point can be alleviated through uptake action through planting and agglomeration precipitation and agglomeration filtration methods for particulate iron treatment.

• 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.

• Cartoon and Animation Studies
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• s.9
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• pp.127-142
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• 2005

Not only in Korea but throughout the entire world millions of people are in contact with images. Images have become a medium through which to transmit anything from simple visualizations of moving images to knowledge and information. The age of the internet has arisen thanks to scientific development, and the internet generation's acquisition of information is continuously becoming faster. The spectators, ufo must choose amongst the excessive amount of available information, are changing along with it just as quickly. The method of visual transmission has changed to match the demands of the fast-changing pace of the new generation. In order to receive an instantaneous selection amongst much information, the primary requisite is attracting one's attention, and then presenting a corresponding feeling of satisfaction. The early stages of film arose from the desire to capture one's actual situation as it realty is. Unsatisfied with the still picture, people developed the motion picture. Research has succeeded in reproducing 3-dimensional images more realistic than the actual image we perceive as a result of the difference in visual perspective of both eyes and their response to rays of light From color film to 3-dimensional pictures, people enjoy the magnificent results of this. All fields within the category of film are continuously studying the human desire to pursue their visual side, namely the pursuit of visual images with a maximum sense of reality. The images that millions of people around the world see now are flat. The screen's depth and optical illusions effectively give a sense of reality while conveying information. However, although the flat screen is able to create a sense of depth using the different visual perspective of each eye for the realization of a cubic effect, there are limitations. Entering the 21s1 century, there is a quickly-arising branch within the field of image media which seeks to overcome these limitations Although 3-dimensional images began in films, entering the latter half of the 20th century, due to development of 3-dimensional images using the mediums of the animation field, cellular phones, advertisement screens, television etc., without restriction is designated as 'image.'. With research having started around 1900 and continuing for over 100 years, we are now able to witness the popularization of 3-dimensional films happening before our very eyes. Within our own country, we can frequently see them at amusement parks and museums. In the future, through the popularization of HDTV etc., there is a good outlook for practical use of 3-dimensional images in televisions with advanced picture qualify as well as in other areas. Together with the international current, research on 3-dimensional films has been activated in Korea and is rising as a main current in the film industry. Within this context, the contents and understanding of 3-dimensional images must keep in step with the pace of technical advancements. In order to accelerate of development of film contents to keep in pace with technical developments, this dissertation presents the techniques and technical aspects of future developments, and shows the need to prepare in advance to make the field grow- and thereby avoid having a lack of experts and being conquered by other nations in the field - rather than only advancing the technical aspects and importing the contents. This dissertation aims to stimulate interest and continual research by progressive-thinking people related to the film industry. Part II looks into the definition and types of 3-dimensional motion pictures, the terminology, the fundamentals of image formation, current market fluctuations, and looks into 3-dimensional techniques which can be borrowed and introduced in 3-dimensional animations. Part III concerns 3-dimensional animated films. It analyzes 3-dimensional production techniques while using the introduction of specific animation techniques in the 2004 production Lee Sun Shin and Nelson - Naval Heroes 3-dimensional animation produced in 2004 by Clay & Puppet Stop-Motion Animation & Computer Graphic. Original Korean title: 해전영웅 이순신과 넬슨. as an example, and it also looks into how current film techniques used in animations can be applied in 3-dimensional films. Additionally, the actual stages of the various fields of 3-dimensional animations are presented. Given the current direction and advancement of 3-dimensional films making use of animations and the possible realization of this field, the author plans to weigh the development of this yet unexploited new market Not looking at the current progress of the field, but rather the direction of the hypothetical types of animation techniques, the author predicts the marketability and possibility of development of each area.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.