• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.94-107
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• 2008

This study examines the diversity of garden culture in the Joseon Dynasty focusing on genre painting. Genre painting gives us insight into the various ways of enjoying the garden. The intimate activities portrayed in the painting show us about the vivid scenes of Korean garden at that time. Among the various meanings of gardens, sensual pleasure is focused on here. The garden has always been a place of pleasure for seeing, smelling, touching, meeting people and erotic flirting. Here, the oriental aesthetic idea of Pungryu is adopted to reformulate pleasure based on the traditional way of thought. Most Korean gardens in the Joseon Dynasty were understood as the place for Pungryu. Sensuality in the Korean garden associated with a high level of spiritual pleasure. In order to look closely into garden activities, genre paintings were selected and analyzed. Several characteristics were elicited. First, the garden was understood as the medium of communication through reconciling man with nature. Mediating man with nature often calls for uplifting the sense of community within groups of people. Second, the garden was featured as the place of cultural creation. Many scholars utilized the garden as a place for poetic imagination. Therefore, the garden was the locus of intellectual discourse. Third, personal retreat was one of important functions in the Korean garden. the humble attitude toward landscape such as solitude and mediation might be understood as one way of enjoying the nature. Fourth, taste, power and social relations were embedded in garden culture. Therefore, the garden was regarded as a space of distinction. Garden making was understood as one of the high class leisure activity. It was quite natural that the garden was used as a place of showing up their taste and culture. Finally, we need to reinvigorate the rich meanings of garden in contemporary practices. In-depth analysis of garden culture through the lens of genre painting gives us quite useful information in Korean garden culture.

• Journal of Conservation Science
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• v.32 no.1
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• pp.89-100
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• 2016

We estimated pigments and painting techniques with nondestructive analysis for Yu Eonho's portrait made in the eighteenth century, then compared with 11 portraits and painting characteristics at that time. The pigments used to Yu Eon-ho's portrait include lead white, yellow dye, cinnabar, minium, and pink dye, malachite, azurite, iron oxide red and brown dye, blue and pink dye for purple. In the result compared with painted pigments of 11 portraits, iron oxide red without cinnabar was used on the face part and organic green dye only was used instead of inorganic pigments on the other side of clothing after Yu Eonho's portraits portrait. This study is show the painting techniques on the portraits in the late $18^{th}$ century. We expect to use as useful referencing data for the study on the coloring technique of a portrait in the late Joseon Dynasty.

• Plant Biotechnology Reports
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• v.3 no.4
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• pp.277-283
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• 2009

One of the limitations to conducting maize Agrobacterium-mediated transformation using explants of immature zygotic embryos routinely is the availability of the explants. To produce immature embryos routinely and continuously requires a well-equipped greenhouse and laborious artificial pollination. To overcome this limitation, an Agrobacterium-mediated transformation system using explants of type II embryogenic calli was developed. Once the type II embryogenic calli are produced, they can be subcultured and/or proliferated conveniently. The objectives of this study were to demonstrate a stable Agrobacterium-mediated transformation of maize using explants of type II embryonic calli and to evaluate the efficiency of the protocol in order to develop herbicide-resistant maize. The type II embryogenic calli were inoculated with Agrobacterium tumefaciens strain C58C1 carrying binary vector pTF102, and then were subsequently cultured on the following media: co-cultivation medium for 1 day, delay medium for 7 days, selection medium for $4{\times}14$ days, regeneration medium, and finally on germination medium. The T-DNA of the vector carried two cassettes (Ubi promoter-EPSPs ORF-nos and 35S promoter-bar ORF-nos). The EPSPs conferred resistance to glyphosate and bar conferred resistance to phosphinothricin. The confirmation of stable transformation and the efficiency of transformation was based on the resistance to phosphinothricin indicated by the growth of putative transgenic calli on selection medium amended with $4mg\;1^{-1}$ phosphinothricin, northern blot analysis of bar gene, and leaf painting assay for detection of bar gene-based herbicide resistance. Northern blot analysis and leaf painting assay confirmed the expression of bar transgenes in the $R_1$ generation. The average transformation efficiency was 0.60%. Based on northern blot analysis and leaf painting assay, line 31 was selected as an elite line of maize resistant to herbicide.

• Journal of Conservation Science
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• v.25 no.4
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• pp.383-398
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• 2009

We have investigated chemical properties of the pigments and carried out the deterioration diagnosis using nondestructive techniques of the wall painting in Yaksajeon Hall of Gwanyongsa Temple. As the results of pigments analysis, it was unusual that the cobalt was detected in the blue and green colors used to traditional paint background. According to the deterioration diagnosis, ultrasonic measurement and infrared thermography, dominant cracks and exfoliation caused by high content of moisture. Therefore, it should be devised effective plan to prevent penetration of water for the long term this wall painting.

• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.4 no.2
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• pp.137-147
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• 1994

This study was designed to identify and quantitate airborne isocyanate simultaneously by HPLC. These samples were collected using 1-(2-pyridyl)piperazine(1-2PP) coated glass fiber filter from polyurethane painting works at 8 wood furniture factories in Kimpo and Inchun. The results obtained were as follows : 1. The most suitable mobile phase condition of simultaneously analyzing isocyanates was 0.01 M ammonium acetate buffer ACN(70/30) adjusted to pH 6.2 from the beginning of the analysis to 20 min and 0.01 M ammonium acetate buffer/ACN(50/50) adjusted to pH 6.2 from 21 min to 40 min using the gradient mode. The peaks of isocyanates were able to obtain within 30 min. 2. The recovery efficiencies for 2,6-TDI, 2,4-TDI, HDI and MDI urea derivates spiked at the target concentration on coated glass fiber tillers were 91.00, 93.42, 91.31 and 94.21 %, respectively. 3. The qualitative analysis of the isocyanates samples from polyurethane spray painting works in wood furnture factories identified Ihree isocyanates, 2,6-TDI, 2,4-TDI and MOI. And their concentration ranges were 0-312.6, 0-56.3 and $0-62.1{\mu}g/m^3$, respectively. A disadvantage of using the colorimetric method for isocyanate analysis is its inability of separating isocyanates. This study identified such three isocyanates as 2,6-TDI, 2,4-TDI and MDI from polyurethane spray painting works in wood furniture factories. These isocyanates were successfully quantitated by HPLC by modifying the mobile phase condition and switching to gradient mode.

• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.1 no.1
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• pp.8-15
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• 1991

In order to visualize the distribution of workplace of which mixed solvent level in air exceeded the TLV of 1.0 (ACGIH), 17 thinners used in 44 painting workplaces were analysed with gas chromatography, and their levels in air were compaired with. 1. For detection rate of solvents in thinner was highest in case of toluene (76.4%), and decreased in orders of xylene (70.6%), methylisobutyl ketone (35.3%), acetone (35.3%), methyl ethyl ketone (23.5%), isopropylacohol (17.6%), n-hexane (17.6%), styrene (11.8%), and ethylacetate (11.8%). Average number of solvents detected was 3.0. 2. Detection rates of organic solvent by component category was highest in cases of aromatic hydrocarbons (52.9%), and decreased in orders of ketones (31.4%), alcohols (5.9%), n-hexane (5.9%) and esters (3.9%). The rate by regulatory category, the second category component was detected in 93.9% of total. 3. There was significant correlation (r=0.929, p<0.01)between detection rates of solvents in thinner and in air. 4. Among the total of 44 painting workplace, the rate of them of which level of mixed solvents in air was exceeded was highest in case of aromatic hydrocarbons (29.5%), and decreased in orders of ketones (6.8%), alcohol (2.3%), n-hexane (2.3%), and was highest in guitar painting (71.4%) workplace in case of aromatic hydrocarbons by component category.

• Journal of the Korea Society of Computer and Information
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• v.23 no.1
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• pp.75-84
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• 2018

In this study, the researchers attempted to automate the process of painting the characters on the road surface, which is currently done by manual labor, by using the information and communication technology. Here are the descriptions of how we put in our efforts to achieve such a goal. First, we familiarized ourselves with the current regulations about painting letters or characters on the road, with reference to Road Mark Installation Management Manual of the National Police Agency. Regarding the graphemes, we adopted a new one using connection components, in Gothic print characters which was within the range of acceptance according to the aforementioned manual. We also made it possible for the automated program to recognize the graphemes by means of the feature dots of the isolated dots, end dots, 2-line gathering dots, and gathering dots of 3 lines or more. Regarding the database, we built graphemes database for plotting information, classified the characters by means of the arrangement information of the graphemes and the layers that the graphemes form within the characters, and last but not least, made the character shape information database for character plotting by using such data. We measured the layers and the arrangement information of the graphemes consisting the characters by using the information of: 1) the information of the position of the center of gravity, and 2) the information of the graphemes that was acquired through vertical exploration from the center of gravity in each grapheme. We identified and compared the group to which each character of the database belonged, and recognized the characters through the use of the information gathered using this method. We analyzed the input characters using the aforementioned analysis method and database, and then converted into plotting information. It was shown that the plotting was performed after the correction.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.1
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• pp.61-78
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• 2016

This study through the literature research to understand the most representative art trend - the definition and evolution of the Cubism in the early 20th century, and through the analysis on the representative painter's works, such as works of Pablo Ruiz Picasso and Georges Braque, This article raises the unique characteristics of the Cubist painting, such as geometry modeling, simultaneity, transparency, collage, deconstruction and reconstruction, etc. On the basis of theoretical research in this study, in order to meet the novelty and originality of clothing design requirements in the field, this research uses the modeling characteristics of the Cubist painting, designs and makes five sets of works in costume designing. Research findings are as follows, 1) According to the geometry modeling, split garment surface into triangle or irregular polygon shaped. 2) Show front and side images of the characters in the same garment surface. 3) Overlapping the images of the characters in the same garment surface. 4) Make use of composite materials to express the characters. 5) Disassemble the characters recombine them in an abstract painting way. These works mainly completed by adopting some techniques like Patchwork and Figurative painting. The colors consist of red, yellow and blue caused "Three primary colors series" to achieve the goal of expanding visual effect. Additionally, for the sake of the formal beauty-deformation distortion, symmetric and asymmetric, for instance the structure of the costume adopts formal beauty technique.

• Fashion & Textile Research Journal
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• v.18 no.3
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• pp.289-300
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• 2016

This study surveys children's costumes and games from the 11 Genre paintings by Junkeun Kim in the book "Korean Games(Stewart Culin 1858-1929)". The character of the general dress-costumes, games and the culture of life from the late $19^{th}$ century in genre painting of Junkeun Kim are as follows. The study results on the games are as follow. The boy's games are kite-flying, spinning tops, playing shuttlecock with the feet, blindman's buff, yut("Four-Stick Game"). Girl's games are seesaw with board, blindman's buff, marbles. Combined games are mount shoulder, sledge, tightrope walking for men with boy. The strengthen one's body type were seesaw with board, tightrope walking, the compete score type were playing shuttlecock with the feet, marbles and the multi complex type were yut("Four-Stick Game"), kite-flying. Through genre painting in the $19^{th}$ century we know a boy's 'Jeogori 'and 'Ba-ji' were similar to a modern man's and boy's 'Hanbok' with a traditional method of wearing. We believe that the originality of a traditional costume was an unchangeable characteristic. Girl's 'Jeogori' and 'Chi-ma' changed in length and width, and method of wearing; however, the basic shape did not change. The analysis for artist's genre painting which was ordered by a foreigner and the late of $19^{th}$ century's children's costume and game of life culture is useful to match the counters and show how to wear a modern Korean costume used to understand the 'Hanbok' and establish a costume of life.

• Journal of the Korea Computer Graphics Society
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• v.15 no.2
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• pp.19-34
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• 2009

This paper presents an automatic rendering system for 3D meshes which generates images in the style of oriental black ink painting. In this paper, we analyze the characteristics of black ink painting and present some requirements for our black ink rendering system. Then we survey the steps used by artists to create black ink paintings. Based on the analysis of drawing steps, we propose a black ink rendering system which reproduces the key features of black ink painting through three sub-systems: the feature line layer, the interior shading layer, and the media layer. The main contribution of this paper is to introduce new methods which generate realistic and natural results very fast while any simulation methods are not used to satisfy real-time performance. We describe our implementation of each of these, and demonstrate our results in the major three styles of black ink painting: the outline style, the spontaneous style, and the outline-spontaneous style. Our system renders 3D models of moderate complexity at interactive frame rates. As a result, we expect that our system can be directly applied to real-time applications such as computer games and virtual environments.