• 복식문화연구
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• 제15권6호
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• pp.1053-1062
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• 2007

This study purposed to restructure representative traditional patterns formatively, manufacture actual cultural products with traditional dyeing technique using persimmon, and commercialize the results of the research. Traditionally in Korea, the dying of natural fiber such as cotton, flax and silk with persimmon was called Galmul dyeing, and clothes made through Galmul dyeing were called Galot. Galot was very useful because it is strong, does not pick up dirt easily, dries easily, and is cool in summer. In addition, cloth dyed with persimmon becomes stiff, so it does not need to be starched or ironed after washing. Moreover, it does not transmit heat under direct rays and is highly air-permeable, so it is cool and useful for standing the heat. In this study, we used traditional persimmon dyeing technique, printing traditional patterns fit for contemporary people's aesthetic sense not through dip-dying but through printing. When persimmon dyeing is used in expressing patterns, it produces not only visual effect but also embossing effect due to the characteristic of persimmon that makes printed patterns stiff, so we can obtain unique texture distinguished from other printing methods. We chose seven motive patterns, which were lotus pattern symbolizing eternal life, peony pattern symbolizing wealth and rank and prosperity, character Su(壽) pattern widely used as a symbol of health, bird and cloud pattern in the Goryeo Dynasty, Sahapyeoeuisohwa(四合如意小花) pattern printed on brocade in the Goryeo Dynasty, lattice pattern, cloth pattern on wall paintings from the Period of the Three Kingdoms. From each pattern chosen as a motive was extracted unit patterns and the original pattern was restored using Adobe Illustrator. Restored patterns were restructured to be applied to cultural products fit for contemporary formative sense. Fabrics used in dyeing were cotton, linen, ramie, silk, and polyester. Although the same persimmon dyeing was applied, we produced different feelings of patterns using various fabrics and in some cases gold and silver powder was added for the effect of gloss in addition to the embossing of patterns. Using printed fabrics we manufactured tea pads, place mats, cushions, wrapping cloth for gifts, wallet, lampshades.

• Journal of Periodontal and Implant Science
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• 제50권4호
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• pp.209-225
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• 2020

Purpose: Marginal bone loss (MBL) is an important clinical issue in implant therapy. One feature that has been cited as a contributing factor to this bone loss is peri-implant mucosal thickness. Therefore, in this report, we conducted a systematic review of the literature comparing bone remodeling around implants placed in areas with thick (≥2-mm) vs. thin (<2-mm) mucosa. Methods: A PICO question was defined. Manual and electronic searches were performed of the MEDLINE/PubMed and Cochrane Oral Health Group databases. The inclusion criteria were prospective studies that documented soft tissue thickness with direct intraoperative measurements and that included at least 1 year of follow-up. When possible, a meta-analysis was performed for both the overall and subgroup analyses. Results: Thirteen papers fulfilled the inclusion criteria. A meta-analysis of 7 randomized clinical trials was conducted. Significantly less bone loss was found around implants with thick mucosa than around those with thin mucosa (difference, -0.53 mm; P<0.0001). Subgroups were analyzed regarding the apico-coronal positioning, the use of platform-matched vs. platform-switched (PS) connections, and the use of cement-retained vs. screw-retained prostheses. In these analyses, thick mucosa was found to be associated with significantly less MBL than thin mucosa (P<0.0001). Among non-matching (PS) connections and screw-retained prostheses, bone levels were not affected by mucosal thickness. Conclusions: Soft tissue thickness was found to be correlated with MBL except in cases of PS connections used on implants with thin tissues and screw-retained prostheses. Mucosal thickness did not affect implant survival or the occurrence of biological or aesthetic complications.

• 한국의상디자인학회지
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• 제21권1호
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• pp.163-180
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• 2019

A pattern is a symbolic mark of the psychological expression and ornamental desire of the human interior. In particular, plant patterns, from ancient times to modern times, express beauty across both the east and the west. The Joseon dynasty had a strong national will, and it was a time when the symbolism of Korea was established. Plant patterns were decorative and symbolic, filled with meaning in both the textile and craft sectors. This study looked at the frequency and figurative characteristics of the types of plant patterns in textiles, ceramics, woodworking, and metal craftsmanship of the Joseon dynasty. In addition, pattern designs were developed by extracting unit patterns to maintain the original shape, and by adding, magnifying, reducing, and superimposing flat steps and employing the four-fold sequence. The data collected was 826 examples in textiles and crafts, and 34 species of plants were analyzed as follows. In general, the flower patterns preferred soft flowers, flowers, apricot, and peony patterns, and fruit patterns emerged as decorative designs for pottery and woodwork from the 17th century, featuring pomegranates, grapes, fluorines, peaches, and walnut floss. Textiles and woodwork were arranged with many circular designs, while pottery and metal crafts were filled in many ways. Expressive types appeared to be the same as stylistic types for textiles and ceramics, and the construction types were the same in pottery and metal crafts. As such, it was found that even in the different areas of the sculpture, the same aesthetic values were reflected in the common figurative features today. Therefore, in this study, we developed a unique and competitive pattern design that accommodates the modern times and the Joseon dynasty. This development is expected to contribute not only to the development of cultural and tourism products in the future, but also to the tourism industry induced by the Korean wave.

• 한국의상디자인학회지
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• 제25권3호
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• pp.127-141
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• 2023

The purpose of this study is to develop a textile pattern design using the columnar joints motif and a Tyvek fashion clutch bags using it. As a research method, first, through a literature review, columnar joint and Tyvek are understood, and design cases were considered. Second, through a survey, the purchase perception and design preference of columnar joints cultural products were analyzed. Third, based on the results of the survey on color and print, the pattern design for each type of columnar joint were developed, and the uv-printed Tyvek clutch bag was developed. The results of this study are as follows. First, the reason why the public was not attracted to the purchase of cultural products was dissatisfaction with practicality, price adequacy, and aesthetics. Therefore, it was analyzed that quality, practicality, price, carry-on storage, collection value, and casualness, as well as aesthetic design were important factors for purchasing factors pursued by consumers. Second, consumers preferred small goods the most for cultural products, and they pursued the use of colorful and contrasting colors, modern and geometric patterns, and eco-friendly materials, such as Tyvek. Third, columnar joint can be classified into three cross sections and four arrangements. The design unit of the columnar joint could be expressed as a hexagonal column, and 12 different pattern designs could be developed according to the cross sections and arrangements type. In addition, it was found that it was easy to produce fashion products suitable for the sensibility of modern people by utilizing Tyvek materials.

• 한국조경학회지
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• 제40권1호
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• pp.43-56
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• 2012

본 연구의 목적은 한강 수변을 대상으로 경관단위에 기반한 심미적 경관평가를 통해 수변경관의 관리방향을 제시하는 것이다. 이를 위해서 먼저, 한강 수변을 자연형, 인공형, 농경지형, 혼합형의 수변유형으로 구분한 후, 대표적인 사례지 36개소(약 $1km{\times}1km$)를 선정하였다. 그 후, 지형과 지피의 경관생태적 측면을 고려하여 총 71개의 경관단위를 설정하였다. 경관평가기준은 경관질과 경관통합성으로 구분하였다. 경관질은 자연경관미, 흥미성, 희귀성, 경관기능을 평가기준으로, Matrix기법을 통해 5등급 평가체계로 평가하였다. 경관통합성 평가는 경관단위 내부통합성과 경관단위간 외부통합성으로 구분된다. 현장조사를 통해 평가한 결과, 전체 사례대상지의 경관단위수는 4,288개이며, 총면적은 약 $42.8km^2$이었다. 경관단위별로 분석한 결과, 산림지가 전체 면적의 약 27.1%($11,580,905m^2$)로 가장 높은 분포를 보였으며, 습지가 전체 면적의 0.1%($52,348m^2$)로 가장 낮았다. 경관질 평가에서는 전체 면적의 약 30.5%가 '상'으로 평가받아 높은 자연경관미를 가지고 있었다. 경관통합성 평가에서, 전체 면적의 39.3%가 인접 경관단위간의 통합성이 '상'으로 나타나, 경관단위간의 시각적 연계성과 조화성의 수준이 높은 것으로 평가되었다. 수변유형에 따라 경관질 등급의 차이가 있는지를 Oneway ANOVA를 통해 검정한 결과, 자연유형의 경관질 등급이 뚜렷하게 높게 나타났다. 본 연구 결과는 한강 수변을 생태적으로 건강하고 경관적으로 아름다운 공간으로 조성하는데 기여할 수 있을 것이다. 향후 연구에서는 각 경관단위가 가지고 있는 심미적 가치와 생태적인 가치를 동시에 평가해볼 필요가 있다.

• 구강회복응용과학지
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• 제29권3호
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• pp.308-316
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• 2013

구강점막의 건강을 지속적으로 유지, 보지 및 치간유두를 보존시켜 치간공극의 발생을 최소화하고, 심미적이며, 발음에도 이상이 없는 최종보철물을 제작과정에서 교의치 pontic base 하방에 염증의 발생을 방지하고, self-cleasing이 될 수 있는 구치부 교의치 pontic ridge lap 제작방법을 연구하였다. 교의치 pontic base 하방에 염증의 발생을 방지하고, self-cleasing이 될 수 있는 제작기술을 부산, 경남지역의 치과 10군데를 대상으로 적용하였다. 구치부 3unit 교의치 pontic base를 제작할 때 대체 신기법을 적용한 ridge lap 형성방법을 제시하고, 임상검증을 수행하기 위해 기존의 통상적인 방법으로 제작된 것과 대체 신기법을 적용한 것을 비교분석 하였다. 염증, 기타 치주질환은 기존의 통상적인 방법으로 제작한 pontic base에서 9.6%, 대체 신기법을 적용한 방법으로 제작된 것은 0.3%이 나타났다. 음식물 잔류에서는 통상적인 방법은 100%, 대체 신기법을 적용한 방법 9.1%으로 유이한 차이를 보여지만, 가글 후의 검사 결과는 대체 신기법을 적용한 방법이 0.8%로 낮은 결과를 얻었다. 그리고 self-cleasing면에서 통상적인 방법으로 제작한 pontic base에서 9.0%, 대체 신기법을 적용한 방법 0.8%으로 나타났다.

• Journal of Platform Technology
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• 제6권2호
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• pp.10-18
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• 2018

본 연구는 중국 핸드폰 시장에서 특정 제품사양 중 색상변화와 그 제품의 수요변화와의 관계를 가격탄력성으로 실증 분석한 것이다. 기존 가격탄력성 연구의 분석단위는 제품 카테고리이거나 제품카테고리 내 SBU 를 주로 측정한 반면, 이 연구의 가격탄력성 분석단위는 체험마케팅, 미학마케팅, 인지심리학의 연구 대상인 색상에 초점을 맞추고 있다. 본 연구의 데이터는 중국 최대 B2C 사이트에 입점한 대리상이 다국적 기업의 핸드폰을 판매한 실적자료를 바탕으로 하였다. 연구결과를 보면, 첫째, 6 개 색상의 가격탄력성이 모두 절대 값 1 보다 커서 가격 변화에 수요가 탄력적으로 반응하는 것으로 나타났다. 둘째, 색상 간 가격 탄력성의 차이가 발생하였다. 동일한 가격인하 폭 속에서 가장 적은 판매량 증가를 보인 색은 아로마화이트인 반면에, 가장 많은 판매량 증가를 보인 색은 다이아몬드색이였다. 본 연구의 결과를 통해, 중국에서 핸드폰 판매 시 가격 할인인하 폭이나 인상폭을 색상에 따라 다르게 하거나, 기업에서 핸드폰 생산량을 색상에 따라 다르게 준비하여 판매하는 것이 더 많은 이익을 창출할 수 있게 됨을 알 수 있었다. 학술적으로는 중국의 핸드폰 제품 카테고리에 색상에 따른 선호 차이와 색상에 따른 가격탄력성이 다름을 파악함으로써 가격탄력성의 분석 단위의 미시화 및 개념 확장이라는 학술적 공헌이 있었다.

• 대한두개안면성형외과학회지
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• 제17권2호
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• pp.56-62
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• 2016

Background: The two most common skin cancers are basal cell carcinoma (BCC) and squamous cell carcinoma (SCC). The purpose of this study was to describe the detailed clinical behavior of BCC and SCC in the head and neck region over 19 years at a single institution. Methods: A retrospective analysis was performed for all patients with non-melanoma skin cancer who had undergone surgical resection over an 18-year period. Patient charts were reviewed for demographic information, tumor size, onset-to-diagnosis, anatomic location, clinical subtype, histologic differentiation, method of surgical treatment, and recurrence. Results: The review identified 265 cases of either BCC or SCC in 226 patients. Of the 226 patients, 80 (35.4%) were men and 146 (64.6%) were women. BCC (n=138, 55.9%) was more frequent than SCC (109, 44.1%). The most frequent age group was 70-to-79 year olds (45 patients, 35.2%) for BCC and 80-to-89 year olds (41 patients, 41.8%) for SCC. By aesthetic units of the face, the most common location was the nasal unit (44 cases, 31.9%) for BCC and the buccal unit (23 cases, 21.1%) for SCC. The most common clinical subtype of BCC was the nodular type (80 cases, 58.0%). Local flaps were most commonly used to cover surgical defects (136 cases, 55.1%). Recurrent rates were 2.2% for BCC and 5.5% for SCC. Conclusion: In our study, many characteristics of BCC and SCC were compared to previously published reports were generally similar, except the ratio of BCC to SCC. Further study can help to establish the characteristics of BCC and SCC.

• 미술이론과 현장
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• 제1호
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Restorative Dentistry and Endodontics
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• 제32권1호
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• pp.19-27
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• 2007

본 연구는 새로운 치과용 색체계 개발을 목적으로 현재 치과에서 사용되고 있는 Vita shade를 사용하는 9 제조사의 12종의 광중합형 복합레진과 1종의 치과용 도재의 색상을 diffuse/$8^{\circ}$ 수광 방식을 사용하는 분광색체계 (MiniScan XE plus, Model 4000S, Hunter Lab, USA)를 이용해 D65 표준광과 10도 관찰자 시야 하에서 CIE $L^*a^*b^*$ 값을 측정하고 색상 범위를 분석하였다. 분석한 정보를 color sorting system을 응용한 CNU Cons Dental Color Chart의 색상 표현 방식인 T###에 치과용 수복 재료들의 범위를 적용하여 다음의 결과를 얻었다. 측정된 $L^*a^*b^*$ 값의 분포를 분석해 보면 $L^*$ 값은 80.40과 52.70 사이에, $a^*$ 값은 10.60과 -3.60 사이에, 그리고 $b^*$ 값은 28.40과 2.21 사이에 분포한다. $L^*$ 값의 평균값은 67.40, 중앙값은 67.30이며, $a^*$ 값은 2.89와 2.91, $b^*$ 값은 14.30과 13.90 이다. 이러한 분석을 토대로 CNU Cons Dental Color Chart의 T###의 첫 번째 숫자에 해당하는 $L^*$ 값의 각 숫자간의 차이는 2.0으로, 그리고 2번째 숫자인 $a^*$ 값의 각 숫자간의 차이는 1, 그리고 세 번째 숫자인 $b^*$ 값의 각 숫자간의 차이는 2로 정하였다. T555에 해당하는 $L^*$ 값의 범위는 66.0이상, 68.0미만으로, $a^*$ 값의 범위는 3이상 4미만으로, $b^*$ 값의 범위는 14이상 16미만으로 결정하였다.