• Proceedings of the Korea Information Processing Society Conference
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• 2009.11a
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• pp.349-350
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• 2009

In this paper, we describe an error concealment techniques based on image inpainting for the image impairments due to the packet loss. Image inpainting is to remove or restore the damaged sections from the images, which is usually old images, paintings, or video films. Inpainting has a long history which goes back to the era when the paintings come out. Manual inpainting is no more used, and we can use digital inpainting for the digitally impaired images and video sequences. In this paper, we review the error concealment techniques for the packet loss recovery and propose our inpainting based image impairment recovery scheme for video communication over packet networks.

• Proceedings of the Korean Institute of Building Construction Conference
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• 2021.05a
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• pp.193-194
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• 2021

Ti-salt agglomerated titanium dioxide photocatalyst from sludge, which has various and excellent functions such as nitrogen oxide removal performance, antifouling performance, and bacteria removal performance, is intended to be applied to UHPC. The UHPC used in this study is supposed to have a high compressive strength of 100~200MPa and a high flowability of 600mm or more with a slump flow. Titanium dioxide is fixed to the UHPC surface by sieving through a test sieve and compaction and painting using a vibration compactor, and this is tested according to ISO 22197-1. The NO removal amount is evaluated by classification the result range.

• The KIPS Transactions:PartB
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• v.17B no.1
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• pp.47-54
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• 2010

Old archived film shows two major defects: line scratch and blobs. In this paper, we present a design and implementation of an automatic video restoration system for line scratches observed in archived film. We use autoregressive (AR) image model because we can make stochastic and specifically autoregressive image generation process with our PAST-PRESENT model and Sampling Pattern. We designed locality maximizing scanning pattern, which can generate nearly stationary time-like series of pixels, which is a strong requirement for a stochastic series to be autoregressive. The sampled pixel series undergoes filtering and model fitting using Durbin-Levinson algorithm before interpolation process. We designed three-stage film restoration system, which includes (1) film acquisition from VHS tapes, (2) simple line scratch detection and restoration, and (3) manual blob identification and sophisticated inpainting scheme. We implemented film acquisition and simple inpainting scheme on Texas Instruments DSP board TMS320DM642 EVM, and implemented our AR inpainting scheme on PC for sophisticated restoration. We experimented our scheme with two old Korean films: "Viva Freedom" and "Robot Tae-Kwon-V", and the experimental results show that our scheme improves Bertalmio's scheme for subjective quality (MOS), objective quality (PSNR), and especially restoration ratio (RR), which reflects how much similar to the manual inpainting results.

• Journal of Conservation Science
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• v.32 no.3
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• pp.333-343
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• 2016

A study on conservation of outdoor painted sculptures has begun to receive attention as increasing numbers of the sculptures, but it is still in an early stage in South Korea. In the case of a painted outdoor object which has been exhibited in National Museum of Modern and Contemporary Art (MMCA), 'Black nana' produced by Niki de Saint Phalle in 1964, deterioration was observed, such as flaking and discolouration of paint layers due to ultraviolet light and a sudden temperature change during an outdoor exhibition. For this reason, prior to treatment of the sculpture, to find out the painting techniques and materials applied, cross section, FT-IR, Raman and Py-GC/Mass were conducted. As a result, the type and colour of the paint agree with results of the other studies as well as deterioration pattern. It is expected that the results of this study will be utilized for treatment proposal and conservation material selection of 'Black nana'. In addition, to determine the artist's intention of the artist, cooperation with the foundation of Niki de Saint Phalle and artist's assistants will be carried out.

• Journal of the Korean Electrochemical Society
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• v.3 no.3
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• pp.136-140
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• 2000

A stainless steel separator for a molten carbonate fuel cell is usually coated with aluminum diffusive layer to protect its surface against corrosion by the molten carbonate at high temperatures. In this study, a relatively simple method was devised to form the aluminum diffusive layer on a stainless steel substrate. Slurry coating of aluminum on the substrate followed by heat treatment under reducing atmosphere at $650\~800^{\circ}C$ produced the aluminum diffusive layer of $25\~80{\mu}m$ thickness. The thickness of aluminum diffusive layer increased with increasing the temperature or duration of the heat-treatment. The corrosion resistance against molten carbonate under oxidizing atmosphere was significantly improved by aluminum diffusive layer formed by the sluny painting and heat treatment method. Moreover, the sample prepared in this study showed corrosion behavior similar to the sample with aluminum diffusive layer prepared by ion vapor deposition and heat treatment.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1608-1618
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• 2008

This research was conducted to define the different conventional meanings of face painting, we can come across easily in recent days, in different times and different cultures. The conclusions of the research are as followed. First, the face painting was mainly done for the symbolic function. Second, in un-cultivated groups, face painting was one way of body art expression and in some cases, the color and the pattern was the tool to give a symbolic massage that was more powerful than a language. The characteristics of the patterning was that they adopted wide range of patterns include geriatrics, abstract, animals, plants and especially the abstract patterns have the groups unique symbolic meanings such as specific pattern appears guard god which was the effort of having a wholeness with the pattern. Third, it is known that in un-cultivated cultures, face painting has a symbolic function whereas in modern society, there is an emphasis on a decorative function. Lastly, the various expressions of modern body decorations are seen as a result of social/cultural states of the settlement ethnic culture and the modern life style of the people who want to have direct and active opinions and individualize and differentiate themselves.

• Journal of the Korea Computer Graphics Society
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• v.8 no.3
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• pp.35-42
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• 2002

기존의 페인팅 소프트웨어들은 결과적인 면에서 실제 그림과 유사한 결과를 추구할 뿐, 실제 붓의 움직임이나 터치를 사실적으로 재현하려고 하지는 않았다. 이 논문에서는 수묵화를 그리는데 중요한 두 가지 요소 용묵법(用墨法)과 운필법(運筆法)중에서 붓을 운용하는 방법인 운필법(運筆法)을 컴퓨터 그래픽을 통해서 사실적으로 재현하고자 하였다. 이를 위해서 붓을 운용하는데 필요한 수묵 운필의 모든 동작을 캡쳐할 수 있는 5개의 자유도를 가지는 타블렛을 이용하였다. 손으로부터 붓으로, 붓으로부터 물과 먹을 매개로, 종이에 먹이 전달되는 전체 과정을 재현할 수 있는 모델을 설정하고, 이에 따라 사실적인 수묵화 필법을 구현하기 위해 3차원의 붓의 모델, 3차원의 변형 모델, 붓의 털 모델, 교차면 모델), 먹물의 침전 모델 (Ink Deposition Model)로 설정하였고, 이를 통해 실제 수묵화를 그리는 과정과 동일한 제작과정을 통해서 사실적인 붓의 움직임과 번짐이 구현된 수묵화와 유사한 결과물을 얻어낼 수 있었다. 또한 종이에 전달되는 먹과 물의 양을 정확하게 조절하기 위해서 붓의 털과, 교차지점 그리고 종이 모델을 제작하였고, 이들을 통해서 실제 수묵화의 필법을 사실적으로 시뮬레이션 하였다.

• Fashion & Textile Research Journal
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• v.14 no.6
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• pp.906-917
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• 2012

The purpose of this study is to examine the characteristics of expression and their effects of New painting in fashion illustration since 1990s. This study is focused on searching for the development in expressional techniques of the fashion illustration on the basis of various techniques of New painting. New painting as a trend of new expressionism in America was developed in opposition to the minimalism in the 1980s when the discussion of the post-modernism was most widely. The artists of New painting attempted to resurrect figure through the representation of figure and concrete image, rich in color and strong in image. They also expressed the realistic scene of life with the various kind of medium, materials and styles and appropriation of image from mass media and popular culture. The representation of fashion figure and image through the various kind of painting medium, techniques and styles can express the realistic and sensitive image and increase the communication ability in fashion illustration. It could also deliver the fashion message more clearly through the appropriation of image. These findings indicate that fashion illustrations accept variety by interacting with fine arts and expand the scope of expression.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.16 no.6
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• pp.1330-1334
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• 2012

The submarines reach their weakest point when they sail on the surface to operate snorkel and periscope. At this period, however, there lies a high possibility that the submarines are detected by non-acoustic sensors such as radars, IR signatures, and human observations. In this paper, the non-acoustic stealth was adopted on the mast and periscope of submarines so as to overcome their vulnerability of being easily detected in this given situation. First of all, the non-acoustic detection sensors were investigated and the stealth methods were analyzed. And multi-layered structures consisting of RAM layer, IR layer, and Camouflage layer were proposed on the surface of the submarine. As a results, multi-layered structure was suggested with 3~5 mm of a magnetic material such as ferrite for RAM layer, 1~2 mm of ceramic or nickel for IR layer, and sea-blue paint for Camouflage layer.

• Cartoon and Animation Studies
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• s.5
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• pp.460-465
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• 2001

글과 그림 사이에서 진동하는 상호보완적 절층주의로부터 벗어나, 텍스트와 이미지의 벽을 넘어서서 신개념의 그래픽 문법으로 형성되는 ‘제3의 지지체(支持體, referance)'이길 바란다. 더 나아가서는 새로운 장르 개념의 ’참조들${\cdot}$frame work'이 조성되길 바라며 작업을 지속한다. 그 방버론의 적용으로는 보여지거나 인식되는 사물과 사태를 ‘서사적 조망${\cdot}$Narration View'으로 회유하여 서사묘${\cdot}$Narration Drawing, 혹은 서사회${\cdot}$Narration적 담론과 리사이틀의 체계를 구축하고자 한다. 따라서 나의 작업은 개념도 실재(행동)도 아닌 양자의 삼투막(?透幕)과도 같은 것으로 최소한의 표현, 그리고 그에 상응하는 선택과 결정이 주어지게 된다. 마치도 ’평면조건‘위에서 글도 아닌 도상적 스키마의 조그마한 끄나풀 하나를 붙들고 연명하는 미물의 절실함이 그것이리라. 또 한편에서는 글이기도 그림이기도한 한 ’이코노텍트성 Iconotextuality'의 보편적 열람성과 보존성의 현전의 세속적 희열과 자유로움을 느낀다. 일품 회화의 오리지날리티로 벗어나 ‘원고개념’을 전제한 작품제작의 출발은 A4 배상용지 위에서 실현된다. 끊임없이 증식되는 생물학적 상상력의 구축은 매카닉한 기계류의 반복과 중첩 이미지, 확대와 축소의 개념적 확산, 용품과 도구 tool character에 의한 드로잉의 산출 및 페인팅의 점착성으로 이어진다. 실제의 프레임과 패널, 액틀을 쓰지 않는 연유는 좀더 벽에 밀착하여 붙이기를 원하기 때문이다.