• Cartoon and Animation Studies
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• s.31
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• pp.209-226
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• 2013

With rapidly changing multimedia environment, various artistic changes and digitalized up-to-date social infra, urban environment construction based on culture contents has been activated. The large image in front of urban building that is expressed as media-façade, increasing rapidly in a recent period, is not a new thing at all. In addition, IT technology molten in city space is testing the possibility of new media through the meeting with architecture. However, unlike its infra enlargement, the definition about media-façade is not clear so the system was constructed in a level of night lightscape or outdoor image advertisement. The purpose of this guideline is the regulation from the negative aspect rather than the possibility of various visual, artistic media expressions. Therefore, it could not show essential concept of media-façade. Moreover, most of companies or building owners focus on short-term profit and marketing effect rather than prepare various contents so they can not use constructed infra properly. After all, in many cases, they discolor the meaning of media-façade. This paper is a pilot study to grasp the current definition of media-façade to construct right guideline of media-façade. On the basis of this study, it will prepare academic definition of media-façade and construct the guideline for design evaluation.

• The Transactions of the Korea Information Processing Society
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• v.7 no.8
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• pp.2349-2360
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• 2000

In medical image processing, if new technologies arc developed, they arc applied to real clinical cases. The results are to be analyzed by doctors to improve the new technologies. So, it is important for doctors to have a tool that helps the doctors in applying the new technologies to clinical cases and analyzing the clinical results. In this paper, we design and implement a visual programming environment where non-programming experts, such as medical doctors, can easily compose a medical image processing application program. A set of image processing functions are implemented and represented as icons. Thc user selects functions by clicking correslxmding icons. The users can easily find necessary' functions from the visualized library. A user selects a function from the visualized library and [Jut the function node into a canvas of Visual Programming Interface. The user connects nodes to compose a dataflow diagram. The connected dataflow diagram shows the now of the program. Hyperbolic Tree is helpful in visualizing a set of function icons in a single screen because it provides both the whole stmcture of the function Iihrary and the details of the focused functions at the same time. We also developed a CUI builder where the user interfaces of the medical image processing applications are composed. Therefore. non'programming experts such as physicians can apply new medical image processing algorithms to clinical cases without performing complex computer programming procedures.

• Nutrition Research and Practice
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• v.8 no.4
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• pp.404-409
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• 2014

BACKGROUND/OBJECTIVES: The number of diabetic patients has recently shown a rapid increase, and delayed wound healing is a major clinical complication in diabetes. In this study, the wound healing effect of Hominis placenta (HP) treatment was investigated in normal and streptozotocin-induced diabetic mice. MATERIALS/METHODS: Four full thickness wounds were created using a 4 mm biopsy punch on the dorsum. HP was injected subcutaneously at the middle region of the upper and lower wounds. Wounds were digitally photographed and wound size was measured every other day until the 14th day. Wound closure rate was analyzed using CANVAS 7SE software. Wound tissues were collected on days 2, 6, and 14 after wounding for H/E, immunohistochemistry for FGF2, and Masson's trichrome staining for collagen study. RESULTS: Significantly faster wound closure rates were observed in the HP treated group than in normal and diabetes control mice on days 6 and 8. Treatment with HP resulted in reduced localization of inflammatory cells in wounded skin at day 6 in normal mice and at day 14 in diabetic mice (P < 0.01). Expression of fibroblast growth factor (FGF) 2 showed a significant increase in the HP treated group on day 14 in both normal (P < 0.01) and diabetic mice (P < 0.05). In addition, HP treated groups showed a thicker collagen layer than no treatment groups, which was remarkable on the last day, day 14, in both normal and diabetic mice. CONCLUSIONS: Taken together, HP treatment has a beneficial effect on acceleration of cutaneous wound healing via regulation of the entire wound healing process, including inflammation, proliferation, and remodeling.

• Archives of design research
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• v.13 no.1
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• pp.111-120
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• 2000

Certain complex forces are existing at the other side of a canvas. These are visual arrangements and within the arrangement, even the simple combination of dots and lines create more than visual patterns. No matter what form that visual art has taken, it is performed in a certain space and it is constucted with various visual elements. For effective communication, visual elements must form a stable sturcture by extablishing organic relationship among each other. These requires an understanding of the human visual characteristics and psychonology, because human sight senses the same biological and psychological visual elements differently in its force and weight, according to the position within a given space. Although the structure which controls such force and weight exists within a peice of work, it is a internal plan of the work that actually controls the communication through a man\ulcorner psychological reactions towards the horizontal and virtical structures within it. Moreover it is a visual statement that effectively expresses a theme or a message. This thesis has studied visual structures through the analysis of art pieces regarding of these kind of a visual picture plane, characteristics of a picture plane formed by a structure of force existing on the other side of the picture and the theory of visual balance. In addition, the aim of this study is to help designers who deals with visual image works to understand the visual structures and psychological recognitions and to apply these picture plane compositions at their real work by recognizing the psychological power within the construction elements.

• Cartoon and Animation Studies
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• s.49
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• pp.399-423
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• 2017

When thinking about the essence of color, green is the image that is settled on the plant itself, and it is also the color shining by the sun. Physics tries to explain green of plants in the correlation of sun and moon, and the history of art contemplates how it is expressed on the canvas. The film attempts to represent a realistic green using camera or computer specific to the medium. Many color theorists who explore the essence of color do not trust the mechanical and reductive scientific colorism that began in Newton and seek a completely different way of exploring in psychology and aesthetics. Like Goethe, who opposed Newton, they do not distinguish the human as subject and the color as object, but focus on the internal grounds of the relationship between subject and color. The representation of color in film is a combination of physics and art. Film color can be expanded to the spiritual dimension beyond the previous emotional and aesthetic, even beyond the physical and mental domains.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.63-74
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• 2005

The cinema costume designers carry out the creative works in a different way from the commercial fashion designers generating the new trends by season or year for a number of people. Costumes created by the cinema costume designers are for the people acting in the film screens such as heroes, heroines or extras. The cinema costume designers should not miss the overall flow of a cinema. Moreover, the prominent designers have to devise the costumes livening up every scene. Most cinemas with the prudent interests and attention on the costumes are favored by the public and gain the commercial success. In particular, the cinemas emphasize the visual effects such as setting, lighting and computer graphics and require the substantial budgets for preparing the costumes regardless of genres, while all other industrial fields will be the same. Such efforts are to deliver the meaning and aesthetics that the cinemas intend to show through the designs, colors and textures of costumes closed up in each scene. The costumes in cinemas are another linguistic system and have the symbolic form of compound and meaningful communication used by the directors. The costume design is required to produce the costumes that liven up the characteristics of heroes or heroines as well as to fit for the general artistic effects of films. Moreover, it has to express the characters in the films using the costumes suitable for the film genres. Cinema costumes are defined and refined, and the process can be angst-ridden. Each frame of film is a canvas and has its own proscenuium. Every garment worn in a theatrical production is a costume. Before an actor speaks, his wardrobe has already spoken for him. From the most obvious and flamboyant show clothing, to contemporary clothes using subtle design language, costume design plays an integral part in every film production. Costume design is a vital tool for storytelling. Costumes have always had enormous influence on world fashion. Costume designers are passionate storytellers, historians, social commentators, humorists, psychologists, trendsetters and magicians who can conjure glamour and codify icons. Costume designers are project managers who have to juggle ever-decreasing wardrobe budgets and battle the economic realities of film production. Costume designers are artists with pen and paper, form, fabric and the human figure.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.3 s.43
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• pp.197-207
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• 1992

Expressionism, is as diverse as the artists invo)ved, in a very broad sense two main tendencies may be noted. The first is that of the Action painters, concerned in different ways with the gesture of the brush and the texture of the paint. It included such major artists as Arshile Gorky, Jackson Pollock, Willem De Keening, and Franz Kline. The other group consisted of the Color Field painters, concerned with the statement of an abstract sign or tranquil image in terms of a large, unified color shape or area. Here must be included Mark Rothko, Barnett Newman, Ad Rdinhardt, as well as, to a degree, Adolph Gottlieb, Robert Motherwell, and Clyf(ord Still. In this paper, 1 selected two artists Arshile Gorky and Jackson Pollock independent charac-teristics and studied the influence of their Action painting on the fabrics of modern fashion. However, it should be noted it was never the intention of the critic Harold Rosenberg, in coining this term, to imply that Action painting was a kind of athletic exercise. Nor is it true that the furious and seemingly haphazard scattering of the paint involved a completely uncontrolled, intuitive act. There is no question that, in the paintings of Jackson Pollock, Arshile Gorky and many of the other Abstract Expressionists, the element of intuition or the accidental plays a large and deliberate part; this was indeed one of the principal contributions of Abstract Expressionism which had found its own inspiration in surrealism's 'psychic automaton'. However, nothing that an experienced and accomplished artist does can be completely accidental. Aside from their intrinsic quality, the spun-out skeins of poured pigments contributed other elements that changed the course of modern painting. There was the concept of the all-over painting, the painting seemingly without beginning or end, extending to the very limits of the canvas and implying an extension even beyond. The feeling of absorption or participation is heightened by the ambiguity of the picture space. The colors and lines, although never punctur-ing deep perspective holes in the surface, still create an illusion of continuous movement, a billowing, a surging back and forth, within a limited depth. To study the influence of Abstract Expressionism on the fabric of modern fashion, 1 selected and examined four fashion magazines: Collezioni published in France, Bazaar in Italy, Gap in Japan and Vogue in the U.S.a. froim January 1989 to June 1991. As a result of this review I found that some fabrics used in modern clothing are printed in a dripping, pouring and splashing style without any meaning or form. Slides included in the presentation show that modern fabrics which are printed in such a style were influenced by Abstract Expressionism. The slides also show that these abstract prints are well suited to modern fashion design.

• Journal of KIISE:Computer Systems and Theory
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• v.33 no.8
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• pp.536-546
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• 2006

Painterly animation is a method that expresses painterly images with a hand-painted appearance from a video, and the most crucial element for it is the temporal coherence of brush strokes between frames. A motion map is proposed in this paper as a solution to the issue of maintaining the temporal coherence in the brush strokes between the frames. A motion map is the region that frame-to-frame motions have occurred. Namely, this map refers to the region frame-to-frame edges move by the motion information with the motion occurred edges as a starting point. In this paper, we employ the optical flow method and block-based method to estimate the motion information. The method that yielded the biggest PSNR using the motion information (the directions and magnitudes) acquired by various methods of motion estimation has been chosen as the final motion information to form a motion map. The created motion map determine the part of the frame that should be re-painted. In order to express painterly images with a hand- painted appearance and maintain the temporal coherence of brush strokes, the motion information was applied to only the strong edges that determine the directions of the brush strokes. Also, this paper seek to reduce the flickering phenomenon between the frames by using the multiple exposure method and the difference map created by the difference between images of the source and the canvas. Maintenance of the coherence in the direction of the brush strokes was also attempted by a local gradient interpolation to maintain the structural coherence.

• Cartoon and Animation Studies
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• s.46
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• pp.207-231
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• 2017

Printmaking is a field of fine arts and is placed on a vague boundary that is perceived as a commercial product with a popular character due to the speciality of editions. Advances of modern science and technology has developed a new technique of printmaking, and the fusion of printmaking and computer has shown the possibility of reproduction art. Reproduction printmaking has been heavily influenced by photography and extended areas, and the various forms of printing have brought about many changes and attempts by stimulating the possibilities of indirect art at various angles. As the history of printmaking and technology closely relate, the development of computer makes widespread expansion of plural artistry, technological and artistic change. A new conceptual shape can be created on the copied image simply by placing the material of the print on the smoothly flat surface expressed in digital form. The process and the result of such work show the area of unique work which is different from the value of the $\grave{a}$ la carte art or the characteristics of the material given by the print. The deprecated perception of reproducibility evaluated the value of the work in a direct sense of printmaking. It is undeniable that it is devalued by a bundle of works regardless of the value of each edition. However, the physical properties of the prints on the paper are brought up with hand drawings drawn on the canvas by hand. And it becomes an opportunity to show new aspect and change through the process of combining digital print information on paper. The diversity of media is sometimes a controversy of identity between art and technology. In the future, it should be discussed how the limit of the media which can be enjoyed in the field of art can be set as a standard.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.10 no.3
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• pp.179-187
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• 1977

This study intended to investigate the shape of the artificial fish reefs settled in the waters of Seogwipo, and the thronging of fish schools into them. The results obtained are summarized as follows : 1. Two types of artifical fish reef, circularized vertical type which is composed of Cryptomeria branches and parachute type, were put off the coast of Seogwipo at $33^{\circ}14'05'$ N Lat., $126^{\circ}34'40'$ E Long. The setting place is located 0.4 sea-mile away from natural fish reefs, at 25 m in depth. And its sediment is consisted of f. S. and Sh. 2. Maximum velocity of wind drift current was 15.28 cm/sec at 15 m depth. The Current direction was $20.5\%$n in the WSW. 3. Maximum fluid resistance of the circularized vertical type to current and wind waves showed about 890 kg, and the weight of sand bags attached to the fish reef totaling 1,200 kg was enough to sustain fish reef. 4. As maximum fluid resistance of the parachute type to current and wind waves was 106.3 kg, the retaining force of sand bags was enough to sustain the fish reef, but vinyl canvas and expansion materials were so poor that the fish reef was lost by the sea current and wind waves. 5. Sixteen species of fish among 53 usually caught in this area were thronged into the artificial fish reef. The fish catches comprized Porgy (Pagrosomus major) $23\%$, black kook fish (Sebastes (Mebarus) intermis) $13\%$, sand borer (Sillago sihama) $11\%$, Sebastes (Pteropodus) hubbsi $7\%$, and file fish (Monacanthus cirrhifer) $6\%$. According to the submarine observations by fivers, it was confirmed that a lot of fish larvae thronged in the middle part of the fish reefs.