• Journal of KIISE:Computer Systems and Theory
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• v.35 no.7
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• pp.340-353
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• 2008

A computational color palette extraction model is introduced to describe paint brush objectively and efficiently. In this model, a color palette is defined as a minimum set of colors in which a painting can be displayed within error allowance and extracted by the two step processing of color grouping and major color extraction. The color grouping controls the resolution of colors adaptively and produces a basic color set of given painting images. The final palette is obtained from the basic color set by applying weighted k-means clustering algorithm. The extracted palettes from several famous painters are displayed in a 3-D color space to show the distinctive palette styles using RGB and CIE LAB color models individually. And the two experiments of painter classification and color transform of photographic image has been done to check the performance of the proposed method. The results shows the possibility that the proposed palette model can be a computational color analysis metric to describe the paint brush, and can be a color transform tool for computer graphics.

• 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.

• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.1-12
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• 2006

The result of this study can be summarized as follows. First, the result of the examination about the theoretical background of the monochrome was influenced by the minimalism and modernism, and consequently the abstract expressionism which is the main trend of the modern painting was formed basing upon the plane feature and unicolor character, and it was recognized that the custom of the plane feature was implied into the monochrome. Second, the aesthetic characteristics such as the beauty of body, beauty of simplicity, beauty of nature, beauty tradition, and beauty whole of the Korean monochrome paintings in 1970s were expressed in the modern fashion as follows. The beauty of body can be told as the dress which exposes the body or See-through look in the modern fashion. The beauty of simplicity is expressed as the most simple and non-decorating minimalism element. The beauty of nature is expressed by using the natural and convenient color without any artificiality. The beauty of tradition is expressed in the Han-bok natural white material. The beauty of whole is easily expressed by using repeated print, partition or overall harmonized beauty.

• The Journal of the Korea Contents Association
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• v.6 no.5
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• pp.76-84
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• 2006

When a human-being gets a wrong perception about any object is a misunderstanding and what they feel through sense of sight is an optical illusion. The study about those illusions have been given out to not only the fields of fine art, design, and animation but also psychology First, this paper puts in order an op art, influenced in fine art and design, and animation using persistence of vision, relating an optical illusion. Second, it analyses the theory of art form using an optical illusion about brightness, saturation, contrast and luminosity of color. Finally, it makes an experiment of standard of perception on students. The study of art form using an optical illusion is another way to represent fine art comparisons and visual image including animation.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2009.05a
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• pp.116-119
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• 2009

Culture is an element of showing the quality of life as the factor that a human can become a human being. Furthermore, culture plays a role to make something new and a source for a higher value-added business. In 21C, the term of cultural contents to combine art with digital technology was derived. In this paper, we reconstruct a 3D Mongudowondo which is improved a plain appreciation into a 3D experience of traditional picture to make better user's convenience and approach. It is a device of restoration for cultural contents and a graft on virtual reality after reinterpreting 15C pictures and analyzing text and image.

• Annual Conference on Human and Language Technology
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• 2010.10a
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• pp.22-27
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• 2010

최근 국가적 차원에서 영어교육에 대한 많은 투자가 이루어지고 있으나 기존의 주입식, 암기식 영어 교육은 회화 실력 향상에 큰 도움을 주지 못하였다. 컴퓨터를 이용한 영어교육 또한 많은 관심을 얻고 있으나 실제 의사소통을 위한 회화 학습에 대한 고려는 깊지 않으며, 주어진 흐름의 대본을 따라 단순히 읽고 반복하는 수준의 시스템만 존재하고 있다. 이러한 학습형태는 흥미 유발 동기가 약하여 사용자로 하여금 장기간 꾸준히 학습하게 만들지 못한다는 문제가 있다. 이러한 문제점에 대하여 제2언어 습득 이론에 바탕을 둔 자연어 처리 기반 몰입 환경 영어 교육 시스템을 제안한다. 이는 도메인 확장성이 뛰어난 예제 기반 대화 시스템을 3 차원 가상공간과 결합한 시스템으로 자연스러운 대화를 통한 외국어 회화 연습을 하는 과정에서 학습자의 발화 오류를 분석하고 교육적 피드백을 제공한다. 또한 현실과 비슷한 몰입 환경에서 체험형 기술을 통해 자발적인 학습을 유도하고 집중력, 기억력을 획기적으로 높이고자 한다. 본 논문에서는 영어교육 시스템의 이론적 배경, 예제 기반 대화관리, 시스템 구성요소와 동작에 대하여 중점적으로 기술하였다.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.81-97
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• 2019

The purpose of this study is to examine what people in Korea recognize the cultural symbolism and the planting patterns of 'Guǐmok', pagoda tree(Sophora japonica). The species planted in the 'Guǐjeong' was empirically investigated and analyzed to determine which species of pagoda tree or Zelkova tree(Zelkova serrata) was taken through literature surveys, field surveys, and interviews with persons. This 'Guǐjeong' was combined to track how the culture of the 'Guǐmok' planting introduced in China was ultimately accepted and transformed in Korea. In this study, we tried to analyze the meaning implicit in the mystery while checking the distribution of the mystery and the form of the mystery, the name of the pavilion and its relevance to the contrast medium. Essentially, the trees that govern the characterization of the nectar plant, regardless of the region, are considered to be a pagoda tree, which is considered an internal factor in which the pagoda tree culture was not completely transformed into a zelkova tree. It was recognized throughout the Joseon Dynasty that the species representing 'Prime ministers(三公)' was judged from all the Joseon Dynasty periods, based on the builder of Guǐjeong's Aho(雅號) and Dangho(堂號). It was confirmed that the tree was very likely to be planted in place of the painting tree. But now is selectively zelkova tree is in accordance with the preparation of planting site conditions and areas on behalf of the Change is very high probability that is planted. Cultural variables that led to the cultural transformation of the 'Guǐmok' seem to have been deeply involved in the geographical space of China and Korea, Confucian practices of the Choson society, comings and goings and letter bridge, and network strength with China through the book spread. In addition, the culture of 'Guǐmok' is presumed to have led to cultural custom of the upper class, not the whole class, in the Yeongnam region, it can be said that the independent adaptation to act to recognize 'Guǐmok' as a pagoda tree, that is a Sophora japonica, has occurred very strongly. The difference between the cultural areas of Yeongnam and non-Yeongnam is also considered to be an internal factor that has played a major role in the cultural transformation of planting of 'Guǐmok'.

• Applied Chemistry for Engineering
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• v.31 no.4
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• pp.404-410
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• 2020

In this study, the stability criteria of cosmeceuticals emulsion containing Flos Sophorae Immaturus extracts was established using the Box-Behnken design model (BBD-RSM). As optimization conditions of the emulsification using the BBD-RSM, the amount of surfactant and additive, and emulsification time and speed were used as quantitative factors while mean droplet size (MDS), viscosity and emulsion stability index (ESI) were used as reaction values. According to the result of BBD-RSM, optimum conditions for the emulsification were as follows; the emulsification time and speed of 17.8 min and 5505 rpm, respectively and amounts of the emulsifier and additive of 2.28 and 1.05 wt.%, respectively. Under these conditions, the MDS, viscosity, and ESI after 7 days from the reaction were estimated as 1875.5 nm, 1789.7 cP, and 93.8%, respectively. The average error value from our actual experiments for verifying the conclusions was below 5%, which is mainly due to the fact that the BBD-RSM was applied to the optimized cosmeceuticals emulsification.

• Archives of design research
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• v.12 no.1
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• pp.133-142
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• 1999

Light is an essential element which make it possible for men to see things, and its important for painter cannot be too much emphasized. light has significant meanings in the history of painting as well as in human life. light playa an essential role in creating three- dimentional objects. Light has not only spiritural, psychological , and formative meanings but also in. itself in the field of drawing. In general, a study of light and colors should be understood not merely as visible effects but as something unconscious involving psychological experiences and spiritual symbols, thus, as a very subjective phenomena. The article analyzes new meanings and roles of light in modern area, examining ways in which studies of light has been performed. It also deals with the meaning and effects of light revealed in the history of oriental and western paintings, and their influence on modern illustrations through case studies in order to provide an opportunity to have a new understanding of light.