• Journal of Digital Convergence
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• v.12 no.11
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• pp.515-530
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• 2014

The purpose of this research is to examine the empirical effect of participating motives for lifelong education on the releasing of controlled inferiority, the gratification of retained desire, and voluntary resocialization. The motives for lifelong education were divided into an external viewpoint focusing on consumers' behaviors and an internal viewpoint based on activity of the ego. External motives were divided into pragmatic, entertaining, and relational motives, while internal motives were divided into self-realization, self-existence, and self-participation motives. The results show that the pragmatic motive and the self-realization motive, the entertaining motive and the self-existence motive, and the relational motive and the self-participation motive are highly related to each other. It was found that the pragmatic motive and the self-realization motive affected the lifelong education participants' release of controlled inferiority relatively stronger, the entertaining motive and the self-existence motive affected participants' gratification of retained desire relatively stronger, the relational motive and the self-participation motive affected participants' voluntary resocialization relatively stronger.

• Journal of Conservation Science
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• v.34 no.2
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• pp.77-85
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• 2018

In order to understand the influence of light artifact discoloration, priority must be given to the reaction characteristics of the light the materials constituting the product. In this study, we focus on two representative medium, animal glue and linseed oil which constitute the colored layer of the painting relics. This study is based on an accelerated degradation test using two types of light emitting diods (LEDs) with different wavelength characteristics. In the experiments, discoloration appeared markedly in the animal glue and linseed oil under accelerated aging test conditions using Blue LED. Among the two types of LEDs, the degree of discoloration of the material was much higher with the Blue LED having the total radiation flux (mW). This indicates that the discoloration of painting artifacts such as animal glue and linseed oil is more significantly influenced by the total radiation flux (mW) of the light source than the total luminous flux (lm).

• Journal of the Korean Society of Costume
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• v.15
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• pp.15-20
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• 1990

• 한국조형예술학회:학술대회논문집
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• 2002.11a
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• pp.4-13
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• 2002

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Proceedings of the Korean Society for History of Mathematics Conference
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• 1998.11a
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• pp.11.1-11.1
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• 1998

• Korea Multimedia Society
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• v.9 no.3_4
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• pp.95-103
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• 2005

• Korean Journal of Human Ecology
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• v.6 no.1
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• pp.133-134
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• 1997

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2018.11a
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• pp.79-81
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• 2018

• 한국조형예술학회:학술대회논문집
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• 2002.12a
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• pp.26-33
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• 2002