• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.1 s.41
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• pp.111-122
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• 1992

Studying the dress style of the Buddhist Goddess of Mercy SU WOL KWAN EUM DO (Drawings on the Buddhist Goddess of Mercy who is watching the Moon reflected in the still water), it is composed of a splendid, jewel crown with five colors, a light and flimsy, non-colored veil with many kinds of gold·plated patterns. This gold·plated carapace figures on a scarlet ground are drawn on the veil and the oval-type flower figures mixed with a scarlet lotus blossom ard arranged. An arabesque pattern of BOSANGHWA (an imaginary, Buddhistic flower figure) is mainly used for both line decorations and necklace. Like this, various kinds and types of figures are in harmony in spite of many changes in figure design. The SU WOL KWAN EUM DO in Koryo dynasty is full of colorful, subtle, harmonious figures which are unique style, which cannot be found in japan, China, and so on. In other words, most of most of dress patterns which are shown in SU WOL KWAN EUM DO are China ink paintings with mountains and waters as its setting. In case of color painting, figure designs are seldom used. The dress pattern in SU WOL KWAN EUM DO of koryo dynasty is characteristic of its variety and magnificent colors.

• Journal of Powder Materials
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• v.10 no.6
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• pp.415-421
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• 2003

The study for producing the flake powders by milling of aluminum foil and gas atomized powders was carried out. The effects of lifter bars on the ball motions and milling of aluminum foils were also investigated. The aluminum foils were laminated each other, elongated, fragmented into small foils and finally formed into the flake powders during the dry ball-milling. The spherical atomized-powders were milled to coarse flake powders with high aspect ratio and then changed to fine flake powders with lower aspect ratio. Even though long times were required for making flake powders by milling of foils, the water covering areas of them were higher than those of powders milled using gas-atomized powders, suggesting aluminum foils were more plastically deformed by micro-forging. On the other hand, as the number of lifter bars increased, the necessary rotation speeds of milling jar for cascading mode and cataracting mode decreased drastically. It was possible to achieve same quality of milled flake powder by using the lifter bars under the lower milling speeds. The painting test showed that the appearance of painted surface was good and optimum content range of aluminum paste in car paint to maximize the degree of gloss was 3-5%.

• Korean Institute of Interior Design Journal
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• v.17 no.6
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• pp.21-29
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• 2008

Baroque period was fundamentally different from the previous ages in terms of various aspects. Not only the social, economical, and cultural changes, but also ways of experiencing architectural space were essentially changed. Space in Baroque architecture was no more confined in the strict medieval order and proportions, but it became more flexible and dynamic by applying many interesting spatial concepts as well as design methods. That is why Baroque architecture somehow has been re-considered in the present time. Various contemporary architects and theorists attempt to apply ideas in the Baroque architecture to enhance and rich spatial experience. This thesis aims to study the methods of constructing spatial depth in some of Baroque architecture. First of all, theoretical research on the Baroque art in terms of depth expressions compared to the previous ages based on Heinrich $W{\ddot{o}}lfflin$ was mentioned. After explaining the general concepts and methods of spatial depth in Baroque architecture, two case buildings were selected to be further analyzed. They are San Carlo alle Quattro Fontane and Cappella di Santissima Sindone. They have unique ways of expressing the spatial depth in which people experience particular spatial feelings. Based on the case analysis, this study was concluded that the ideas as well as design methods for spatial depth can be applied in contemporary architectural designs in various ways.

• The Journal of Pediatrics of Korean Medicine
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• v.28 no.3
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• pp.59-73
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• 2014

Allergic contact dermatitis (ACD) is a type IV delayed hypersensitivity reaction that results from exposures and subsequent sensitization to an environmental chemical. Crataegus Pinnatifida (CP) is commonly used to improve spleen function, remove retention of food, and promote blood circulation. This study is designed to investigate the effects of CP on ACD induced by 2,4-dinitrochlorobenzene (DNCB) in mice. In this experiment, the effects of CP on changes in body weights, ear and dorsum skin thicknesses, ear weights, clinical aspects on the dorsum skin, histopathological changes, spleen weights, cytokines were investigated. In addition, the effects on the proliferation rates of splenocytes were also investigated in vivo and vitro study. In results, CP spread (CPS) group and CP spread and administered (CPS+Adm) group showed decrease in spleen weights. In CPS+Adm group, dorsum skin thicknesses were decreased significantly compared to control group. CP treatment diminished erythema, desquamation and keratosis which were induced by repeated painting of DNCB. In histopathological observation, spongiosis and edema were diminished in CPS and CPS+Adm group. CP led to decrease in the proliferation rates of splenocytes in vivo and vitro. In conclusion, these data suggest that CP can decrease symptoms of ACD, so CP is useful to treat patient with ACD.

• Journal of the Korean Institute of Rural Architecture
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• v.15 no.1
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• pp.71-78
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• 2013

According to the rapid change in the era of Korea, there have been significant changes in the buildings and facilities in the rural area of the country, and thus in the landscape of the agricultural and fishing villages due to the painting of colors that are not in harmony with the surrounding natural environment. Recently, the value recognition on the rural landscape has greatly changed and studies are actively performed on rural colors. To keep up with this trend this study is intended to propose coloring plan of Byutgari and Eumpo area for their entire landscape including the facilities to harmonize with their natural and cultural characteristics and surrounding environments. This plan was related to the establishment of the landscape planning of the region in Taean-gun, Chungcheongnam-do, based on the already prepared rural environmental coloring guideline. This study has its significance in that it provided a coloring process that can be applied to the targeted are as well as other area, continuing the context of the precedent studies. It is greatly expected that the regional characteristics will be strengthened owing to the establishment of coloring guidelines.

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.42-56
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• 2006

The purpose of this study is to review the literatures and the wall paintings of the ancient tombs of Koguryo in an effort to try to understand the characteristics of the culture of dyeing in Koguryo. The research findings follow: 1. The colors that were in vogue in Koguryo are five cardinal colors (red, blue, white, black, and yellow) and compound colors, like purple and green. Those colors were used in some or all parts of the clothing and even on some parts of the body. 2. Some clothing of Koguryo as shown in the wall paintings were made with a single and solid color by dip dyeing method. But the majority of the clothing had a variety of patterns. Among the patterns, the geometrical dot pattern took the majority. 3. The dyeing techniques used in Koguryo were printing, yarn dyeing, embroidery, wax resist dyeing, drawing and painting. The development of yarn dyeing method, weaving with silk-threads dyed in various colors, enabled to produce Geum fabrics, which were used for the upper classes' clothing. 4. The esthetic features represented in the colors of Koguryo include the beauty of contrast coloring, preference for red, preference for geometrical patterns, and the harmony of yin and yang.

• Journal of the Korean Society of Costume
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• v.38
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• pp.159-178
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• 1998

Genres of the modern arts are expanding the overlapping area between the arts ; ceramics and weaving considered as crafts are devel-oped to the ceramic art and the fiber art, re-spectively. This trend has been also applied to the clothing part, which produced several new terms such as‘art to wear’,‘unwearable art’,‘clothing sculpture’and so on. As following this tendency, the unwearable art is dwelling on the boundary of painting, fiber art and scul-pture, and the clothing sculpture comes from the combination of fiber art and sculpture. While Issey Miyake's dress made of bamboo and Foltuny's pleats dress associated with Greek stone-column introduce the sculpture to the functional fashion design, the works of clothing sculpture become the arts by applying the sculpture to the non-functional unwearable art. Although the clothing sculpture is an interesting subject to be studied continuously for its effect on the contemporary clothing part, it is valuable enough as an unwearable art and sculpture respresenting the artist's concept under the circumstance that the boundary between arts and design is no longer clear, i.e., the clothing and the sculpture come across their regions each other. Furthermore, the clothing sculpture has its own value as a metapor exposing idea, feeling and spirit of the artist in the genre of the unwearable art. With a view point of the abstract clothing concept, the clothing sculpture has been taking the role expanding the clothing to the world of fine art.

• Transactions of the Korean Society of Mechanical Engineers B
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• v.31 no.6 s.261
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• pp.558-565
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• 2007

Many studies of microdroplet evaporation from solid surfaces were made with priority given to inkjet printing and dye painting techniques. The objective of these studies is how to evaporate a droplet quickly and uniformly. Also it is necessary to prevent evaporation of a droplet to observe cells in a droplet generated through cell-patterning. In general, an identical volume of a water droplet on hydrophobic surfaces evaporates slower than that on hydrophilic surfaces. In this study, we observe the evaporation process of a droplet on various hydrophobic surfaces and calculated the evaporation rate considering the droplet geometry such as contact angle and height. This study also proposes a new model based on the fact that evaporation mode at the edge of a droplet is different from that at the outer surface of a droplet as the contact angle changes during evaporation. Finally, we reveal the cause fur the increase of evaporation flux and show that the ratio of edge evaporation to total evaporation increases with time.

• Journal of the Korean Society of Costume
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• v.50 no.6
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• pp.47-58
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• 2000

This paper analyses the geometric aspect of Soma Delaunay's works on the basis of design elements and principles. Geometric pattern is one of the distinct features of early 20th century avant-garde works. The significance of its pattern and colour comes from the fact that it has not only influenced the contemporary fine art but also offered the basic principle of modern costume design. In 1925 she was designing clothes which could be worn today without appearing old-fashioned. She foresaw the future trends in fashion and interior decoration, One might claim she belongs to the avant-garde even today and no less astonishing a phenomenon than she was in 1925. Soma Delaunay's art was one of the first expressions of abstract painting and her "simultaneous contrasts"are among the earliest example of the aesthete. In Delaunay's geometric abstraction it is found that the technique of"simultaneous contrasts" is exploited almost without exception. colour as well as collage was the favourite technique Delnaunay used in creating a distinct simultaneity, Many "inobjective" paintings as she herself called unite the rigour of simple geometric forms with an inner life and poetry which emanate from the richness of the colour, the musicality of the rhythm, the vibrant breadth of the execution.rant breadth of the execution.

• Fashion & Textile Research Journal
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• v.8 no.5
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• pp.505-512
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• 2006

Today a new culture called fusion has been forming. And it is spreading at an alarming rate in our society. When people talk about the character of Korean beauty and Korean culture, they speak taking pottery as an example. We can speak that the pottery is a core of culture which represent our people. And I think its pattern can be a good material for fusion. Also, among many Western artists, Mondrian is an unique painter who is to do with our culture. So, in this study, I chose the patterns described in Buncheong pottery and the Mondrian's works for the development of fusion textile design. Patterns expressed on Buncheong pottery are, for the most part, abstract patterns simplified the shape of object. And the Mondrian's works is the geometrical abstract painting be made by vertical and horizon. Using those I intend to develop the fusion textile designs which mixed Oriental culture and Western culture. Also, I intended to simulate them on ties and clothes and present the possibility of culture merchandise development. The reasons for doing so to let other peoples of the world, know about our excellent culture.