• 대한화학회지
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• 제65권2호
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• pp.88-92
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• 2021

In art painting creation, painting material is an important carrier. Acrylic as a young material has very wide applications in modern art. This study mainly analyzed the properties of acrylic material. Firstly, the emergence and development of acrylic were introduced, and then its material characteristics were analyzed. Finally, the performance embodiment of acrylic paintings was compared with oil paintings and watercolor paintings. It was found that acrylic paintings not only had some advantages of oil and watercolor paintings but also had own style characteristics; acrylic paintings also have advantages in durability and flexibility; acrylic paintings could present the characteristics that oil and watercolor paintings did not have while realizing the techniques of them. Acrylic paintings have a broad development space in art creation, which is worth further attention and promotion.

• 한국생활과학회지
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• 제23권5호
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• pp.807-823
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• 2014

The purpose of this study is to verify the effects of storytelling-centered arts educational activities based on the famous painting appreciation on young children's appreciation ability of pictures and creativity. The study was conducted with a total of 50 5-year-old young children in two classes of B Day Care Center in the city of J, Jeollabukdo. The children were randomly divided into an experimental group(25) and a control group(25). The storytelling-centered arts educational activities based on the famous painting appreciation was conducted for the experimental group for 12 weeks from April 29, 2013 to July 19, 2013. The activities were composed of 3 steps of 'appreciation-expression-exhibition & assessment' on the basis of 2-week basic units. The appreciation activities were composed basing upon the types of the famous painting appreciation and storytelling, and expression and exhibition & assessment activities were composed of 4 areas of arts(music/movement/language/art). The results of the study are as follows. First, the storytelling-centered arts educational activities based on the famous painting appreciation generally improved young children's painting appreciation abilities in all sub-areas(observation and description/artist's intention of subject expression/mood of a work/material and technique/artistic factors/attitude to the work). Second, the storytelling-centered arts educational activities based on the famous painting appreciation generally improved young children's creativities in all sub-areas(originality/fluency/flexibility/imagination).

• 보존과학회지
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• 제17권
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• pp.19-32
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• 2005

전통목조건축물의 단청에서 발생하는 도막의 박리현상을 개선시키기 위해, 목재의 친수성으로 인해 목재와 도막간의 팽윤수축률의 차이에 의해 발생되는 응력이 도막의 내후성에 미치는 영향을, 도막의 기계적 성질(인장성질과 응력완화)과 교착제(아교, 아크릴에멀젼(Primal AC-3444), 아크릴수지 (Paraloid B-72))에 의한 포수방법으로부터 평가하였다. 아크릴에멀젼 도막은, 아크릴에멀젼의 유리전이온도가 상온 이하$(7^{\circ}C)$로써 외력에 대한 응력완화가 큰 성질을 가지고 있기 때문에, 열화촉진실험과 옥외폭로실험에서 박리가 발생하지 않았으며, 다른 교착제를 사용한 도막에 비해 내후성이 가장 뛰어났다. 또 목재에 교착제를 저농도에서 고농도까지 중복칠하는 포수방법이 다른 포수방법들보다 도막의 내후성을 향상시키는 효과가 있었다.

• 보존과학회지
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• 제30권1호
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• pp.55-65
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• 2014

이 연구는 위봉사보광명전 백의관음벽화의 보존처리에 앞서 진행되어진 과학적 조사에 관한 결과물로써, 벽체의 입도분포 및 미세구조와 화학성분 그리고 광물 결정상을 분석하였으며, 안료 및 접착매질을 분석하였다. 또한 비파괴진단 방법인 초음파 탐사를 통해 벽화내부에 대한 안정성을 파악하였다. 분석 결과 벽체에 사용된 광물입자들은 중립질 이상의 모래와 세립질 이하 풍화토의 혼합물인 것으로 판단되며, 채색에 사용된 안료는 바탕층은 황토, 백색안료는 호분, 적색계열의 안료는 석간주를 사용하였고 녹색계열은 석록이 사용되었던 것으로 추정된다. 향후 벽화 보존처리에 있어 이와 같은 과학적 분석을 통한 보존처리를 실시한다면, 처리 시 안정성을 높이고 벽화의 보존관리를 위한 기초자료로 활용될 수 있을 것이다.

• 한국의류학회지
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• 제32권10호
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• pp.1608-1618
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• 2008

This research was conducted to define the different conventional meanings of face painting, we can come across easily in recent days, in different times and different cultures. The conclusions of the research are as followed. First, the face painting was mainly done for the symbolic function. Second, in un-cultivated groups, face painting was one way of body art expression and in some cases, the color and the pattern was the tool to give a symbolic massage that was more powerful than a language. The characteristics of the patterning was that they adopted wide range of patterns include geriatrics, abstract, animals, plants and especially the abstract patterns have the groups unique symbolic meanings such as specific pattern appears guard god which was the effort of having a wholeness with the pattern. Third, it is known that in un-cultivated cultures, face painting has a symbolic function whereas in modern society, there is an emphasis on a decorative function. Lastly, the various expressions of modern body decorations are seen as a result of social/cultural states of the settlement ethnic culture and the modern life style of the people who want to have direct and active opinions and individualize and differentiate themselves.

• 한국산업보건학회지
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• 제11권1호
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• pp.17-25
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• 2001

The purpose of this study is to substitute water-based painting materials for the current solvent-based ones used in motor-repairing process to minimize the exposure of organic solvents to the painters. This study assessed the exposure of organic solvents to the painters using water-based and solvent-based painting materials and compared compositions, painting processes and the health hazards of the application of these alternative painting mate rials. The results of this study are as follows. 1. solvent-based painting materials used in motor-repairing process consist of various organic solvents, which consist primarily of toluene, xylene, ethyl benzene, ethyl methyl benzene, trimethyl benzene, ethyl acetate, butyl acetate, methyl isobutyl ketone, 2-ethoxy ethanol, 2-ethoxy ethyl acetate and toluene-2,4-diisocianate and the others. These organic solvents are known as health-hazardous substances. But water-based painting materials are high-solid, low-solvent one sand consist of such two organic solvents as 2-butoxy ethanol and 2-heptanone and the others. 2. The painters us ing solvent-based painting mate rials in motor-repairing process are exposed to various organic solvents which consist of toluene, xylene, ethyl acetate, butyl acetate, methyl isobutyl ketone, trimethyl benzene, 2-ethoxy ethanol, and 2-ethoxy ethyl acetate. But the painters using solvent-based ones are only exposed to 2-butoxy ethanol and 2-heptanone. 3. By using water-based painting materials in stead of solvent-based painting materials containing health-hazardous organic solvents, the exposure of such organic solvents in the painter's breathing zone can be largely prevented. 4. This study recommends water-based painting materials as substitutes for the current solvent-based ones used in motor-repairing process to minimize the exposure of organic solvents to the painters.

• 헤리티지:역사와 과학
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• 제44권1호
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• pp.196-221
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• 2011

조선시대 종묘(宗廟)에 모실 수 없는 왕의 사친, 등극하지 못한 세자와 같은 왕족의 신위를 모신 공간, 사묘(私廟)는 왕명에 의해 건립되고 관리되었다. 또한 사묘의 영건은 각 의궤(儀軌)에 담겼고 이와 함께 왕실사묘의 평면배치도 등이 남겨졌다. 정조의 후궁으로 순조(純祖)를 생산한 수빈박씨(綬嬪朴氏)의 신위를 모신 경우궁의 영건기록인 1824년 "현사궁별묘영건도감의궤(顯思宮別廟營建都監儀軌)"가 현존하기에 그간 소개된 바도 없고 연대조차도 알 수 없었던 <경우궁도(景祐宮圖)>의 제작 연대, 사용재료 및 장황(粧潢) 등을 살펴볼 수 있다. 즉 <경우궁도>는 1822년에 타계한 수빈박씨의 신위를 모시기 위해 궁내에 설치했던 혼전(魂殿)을 폐하고 궁밖에 별도로 마련한 터에 왕명에 의해 1824년 현사궁별묘를 영건하면서 영건도감(營建都監)에서 제작한 <현사궁별묘전도>인 것으로 확인된다. 영건도감에서 <경우궁도>의 제작이 이루어졌을 것이기에 의궤에 제시된 화원(畵員)들이 주목되지만 이들의 현존작이 없어 화풍을 비교할 수 없음은 아쉬움으로 남는다. 하지만 <경우궁도>는 <동궐도(東闕圖)>에서 볼 수 있는 완벽한 평행사선구도로 일목요연하게 많은 전각 등을 묘사하고 있는 점이 가장 큰 양식적 특징으로 지적할 수 있다. 주지하듯 건축물을 다룬 그림들은 해당 건축그림 제작 의도에 맞게 시점을 택해 그리거나 아니면 다시점을 이용해 그리게 된다. 우리 회화에서 건축물을 다룬 그림은 일찍부터 평행사선구도, 정면부감시 또는 다시점 등을 적절히 활용하여 제작되었다. 18세기에 이르면 평행사선구도로 정확하게 그리면서도 회화성도 높은 작품들이 등장하기 시작하는데 19세기 전반기에 이와 같은 현상이 최고로 발전한 듯 <동궐도>가 등장한다. <경우궁도> 또한 완성된 평행사선구도로 200칸 가까운 많은 전각들을 한눈에 알아볼 수 있도록 치밀하게 표현하고 있어 <동궐도>와 같은 계열에 속하는 건축그림으로 볼 수 있다. 이는 또한 수지법, 옥우법, 지면의 표면질감 표현 등 구체적 화법의 비교를 통해 알 수 있다. 다만 사당공간 중 가장 중요한 정당권역만은 의궤도설 '정당이하제처(正堂以下諸處)'라는 평면배치도와 그대로 일치하여 평행사선구도를 버리고 정면부감시 및 사방전도식묘법으로 표현된 점은 <경우궁도>만이 갖는 특징으로 지적될 수 있다. 동시대 영건과 관계된 그림은 아닌 개인의 거주지를 표현한 그림에 이와 같이 시점을 각각 달리하여 표현한 예가 있기도 하여 사당공간을 그린 그림만이 가지는 특성인지는 아직 정확히 알 수 없다. 한편 왼편 하단으로 향하는 평행사선구도를 택해 그릴 경우 화면 왼편 상단과 오른편 하단은 비게 된다. 경우궁도가 이에 부합되는 화면을 보여주는데 반해 동궐도는 다양한 나무 등을 채워 빈 여백 없는 완벽한 화면 구성을 보여준다. 이와 같은 현상은 두 작품의 장황의 현황과도 일치하는데 지본 낱장으로 완성된 경우궁도는 화첩으로 표제까지 달아 완성된 동궐도와는 완성도의 면에서 차이가 있다고 판단된다. 이는 마치 동궐도가 그 묘사의 사실성, 기록성을 넘어 감상의 목적까지도 고려하여 작품제작 및 장황까지 마친 것이었다면 경우궁도는 영건의 상황을 있는 그대로 화면에 옮겨 그리는 기록이 가장 중요한 목적으로 제작되었음을 알게 해주는 것이다.

• Environmental Engineering Research
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• 제16권1호
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• pp.1-9
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• 2011

During automotive painting, volatile organic compounds (VOCs) associated with the paint solvents are emitted to the atmosphere. Most VOC emissions come from spraying operations via the use of solvent-based paints, as the spraybooth air picks up gaseous solvent compounds and overspray paint materials. The VOCs consist of aromatic and aliphatic hydrocarbons, ketones, esters, alcohols, and glycolethers. Most VOCs (some hydrophilic VOCs are captured and retained in the water.) are captured by an adsorption system and thermally oxidized. In this paper, the processes involved in automotive painting and in VOC control are reviewed. The topics include: painting operations (briefly), the nature of VOCs, VOC-control processes (adsorption, absorption, biological removal, and thermal oxidation) and energy recovery from VOCs using a fuel reformer and a fuel cell, and the beneficial use of paint sludge.

• 산업공학
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• 제14권4호
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• pp.394-402
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• 2001

In this study, we deal a spatial scheduling system for the block painting process in the shipbuilding industry. In general, the spatial scheduling for the block painting process is a very complicated task. Because spatial allocation of each block in blasting and painting cells is considered simultaneously. Thus the spatial scheduling for the block painting process is the problem of planning and control of operation, which arises in shipyard. This system is developed for blocks to meet the delivery date given by the shipyard production planning system, to maximize space utilization of blasting and painting cells and to balance workload among working teams. And it has been tested using actual scheduling data from a shipyard and successfully applied in a paint shop in a shipbuilding company.

• 조형예술학연구
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• 제1권
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• pp.165-188
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• 1999

When we think about visual art, we can't pass over the matter of images and spaces. An image is fixed in a painting space. If the image were posited in the river of time, it would be changed as time flowed on. Its image might be created, rigged, transfigured or it might vanish or remain as traces. The image is changed through the process of expressing them on the painting surfaces. In paintings the changing of the image is caused not only by working processes but also recognizing the objects. In modernist painting, the idea of space was important, but in postmodernist view, the idea of time becomes essential. In this thesis I will focus on the matter of time and image of painting in the late 20th century. Studying the relationship of image and time is not familiar because we had considered the space as being more related to painting distinction than time. Presently, the concept of space can't be divided from that of time. In Physics, they recently called it as a united concept- time-space. Painting space also becomes one asking and recieve the concept of time actively. Now in painting, time is no more a supporting matter but becomes a major matter. In the late 20th century, we can find many trials to catch the change of images as time flowes on and express them as a trace through using verioty media. One of the way to drawing the change of images as time passes could be seen through various joint images in one painting space and another in the traces of one image. The other could be done by using new media such as computer in the example of fractal art. It shows the images chainging of practically as time changes. New understanding about time of this era has to be affirmatively accepted because it reflects the contemporary cultural situation and in art, the concern about the possiblity of it and finding new medias which has to go on.