• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.144-145
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• 2004

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.212-220
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• 2023

The meticulous figure painting is one of the wonders of traditional Chinese painting and has blossomed in art history with its unique and interesting style. The period from the Warring States period to the Song and Yuan dynasties was a glorious period in its history, after which it tended to decline due to changes in painting materials and many socio-historical reasons. The extensive cultural exchanges in the world today, the penetration of Western values and the expansion of information technology have brought a huge impact on Chinese meticulous figure painting, which has developed an active way of thinking and expression after absorbing certain elements of Western culture and thought on the basis of inherited tradition. Contemporary Realistic Figure painters continue to explore new developments in meticulous figure painting in the contemporary context, and give contemporary meticulous figure painting a new cultural and ideological connotation, forming a new look that meets the requirements of the times, with richer and more lively content, subject matter and formal language. Traditional meticulous figure painting is characterised by a highly refined use of line and coloring composition. Contemporary meticulous figure painting focuses on the use of purely formal language and the expression of the personality of the creative subject, with a new outlook on the world of painting. In the contemporary multicultural context, new formal language and methods of expression are constantly being explored to create a new look. In the process of development, contemporary meticulous figure painting has merged the best qualities of traditional and contemporary culture, making it an art with a subtle language, rich in meaning and with the charm of the times and oriental characteristics. The author in the form of contemporary fine brushwork figure painting language as the research object, explore new form of fine brushwork figure painting, and in the contemporary society and multicultural context factors. Innovation, enrich and develop new forms of art language of contemporary social form and aesthetic temperament and interest.

• Journal of Digital Convergence
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• v.17 no.9
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• pp.391-397
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• 2019

Ink painting is an important art creation method in oriental culture. Although ink painting lacks of sense of reality compared to western painting, it contains its unique drawing skills, which is of great significance to the inheritance and development of Oriental culture. Animation or game utilizing by ink painting technique are derivative contents from ink painting. This paper will through research the brief history of 3D ink contents works and traditional drawing skills to research existing ink works' art characters and the general production method. Also describe the extensibility of 3D ink animation contents. There has extremely high research value of new convergence contents as mobile game, VR / AR etc. And according to those research ink style image contents can be assumed get further development in the future.

• Korean Institute of Interior Design Journal
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• v.15 no.6 s.59
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• pp.229-237
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• 2006

The purpose of this study was to find out the characteristics of murals in the restaurant and its correlation with interior space. A field survey has been done by visiting 9 Western food restaurants and 9 Oriental food restaurants. Detail recording of mural content has been made and photographs of wall painting have been taken. The survey results are as follows; Firstly, majority of murals were painting technique on the wall directly with paint. Secondly, main theme of mural in the Western food restaurant are flower and plant whereas that of Oriental food restaurant are customs of each country and letter characters. Thirdly, the theme of mural has correlation with food served in the restaurant and the theme represents major character of the restaurant. Fourthly, there were analogy among the interior space elements such as finishing materials and colors. Only exception was murals in the Western food restaurant which shows contrast in its form with interior space. Fifthly, the physical and visual weight of mural was significant in most of cases. Even if the painting is not physically large and is not visually noticeable, it plays an important role in image formation.

• Journal of the Korea Furniture Society
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• v.19 no.6
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• pp.466-474
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• 2008

We suggest layered sculpture method and color painting method with new materials for the preparation of various expressions for aesthetic model of the furniture and interior articles made of river birch. Through the analysis of the layered sculpture method and preference, we try to set a new direction for the enhancement of the decoration for the furniture or article design made of birch plywood. Also, we study the fittest manufacturing process after selecting color painting materials different from the existing painting method and goes well with the furniture or article made of river birch. Color painting which systemic application of the layered plywood from birch and new paints such as Oriental dye is one of the best schemes to realize various possibility of the furniture and wooden article made of the layered plywood, and this research result has affected positive effect on the development fields such as wooden furniture and interior articles.

• Journal of Science of Art and Design
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• v.6
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• pp.100-118
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• 2004

Mi Fu, who was associated with Wen Tong, invented the Mijoem Technique (Dotting Technique) in landscape painting with his son Mi Youren. His landscapes, which referred to Dong Yuan's landscape technique and was inspired by the scenery of Jiang Nan, illustrate the mood of a cloud-covered foggy landscape by liberally applying dots with ink. 'Chunsansoesong' which is considered done by Mi Fu, clearly shows the virtues of ink painting's spreading, absorbing and omission techniques. This simply rendered landscape - whose mountains and hills are wrapped in both clouds and fog - displays exquisiteness by using small dots. In 'Chunsansoesong', the characteristics of Song painting: a 'vital energy', a 'poem within the painting', a 'beauty of margin', a 'beauty of one brush stroke, and a 'display of inner meanings' are implicatively expressed This is because it's simple but connotatively delineative. There is the characteristic of a 'poem within the painting' when analyzing the both fragmented and combined 'Chunsansoesong'. The margins support an imaginative space as the height of the mountains get higher which result in deepening both the width and depth of the landscape space. Furthermore, the soft thickness of ink, clouds, pine trees, and pavilion evoke delineative feelings and a desire to write a poem Every thing in 'Chunsansoesong' is enveloped in both clouds and fog regardless of its distance and this delivers boundless feelings of Oriental mystery and urges a desire for 'writing a poem'. The pavilion that faces the cloud and fog-bound mountains especially flames the poetic urge further by inducing viewers' poetic imaginations. As we reviewed above, 'Chunsansoesong's cloud and fog-covered landscape is a good example that clearly showcases the characteristics of a 'Poem within the Painting'.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.35 no.3
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• pp.79-84
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• 2003

Oriental painting paper (Hwaseonji) was prepared from various kinds of plant fibers and its physical properties were investigated. The fibers used were classified into three different length of fibers; long fiber (<1.8 mm), medium fiber (1.4-1.8 mm) and short fiber (>1.4 mm). The fibers were mixed in the ratio of 15% long fiber, 25% medium fiber and 60% short fiber. The Hwaseonji prepared from mixing of the bamboo or rice straw pulp as a short fiber with the long and medium fibers showed excellent physical properties with a high smoothness and uniformity of Chinese ink blot. Mixing with LBKP as a short fiber was resulted in low physical properties, smoothness and wide ink blot. The properties of Hwaseonji, such as ink absorption, roughness and smoothness, may be predicted from the correlation of density with Chinese ink blot and smoothness.

• 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.

• The Journal of the Korea Contents Association
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• v.6 no.8
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• pp.38-48
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• 2006

Paying attention to the fact that Korean traditional ink and color paintings are different in their use of colors this paper was intended to demonstrate outcomes from the difference in their painting style through specific paintings and thereby categorizing a broad range of oriental paintings into 4 types(Indian ink light color, middle color, deep color, present color) in accordance with the method of using colors, suggest directions that oriental color paintings should move toward in the future in the diversity of modem Paintings. Due to the characteristics of materials, oriental ink paintings, in style, are light in color within lines, which in return makes colors confined to a complimentary role in an overall picture, not having their unique color identity Nevertheless, there are some paintings that use dark colors, which is called moderate saturation. For such dark-color based paintings, colors play a key role, together with the characteristics of materials of color painting, as colors are used to express the most part of a picture. This study, thus, discusses the difference in the use of color depending on style on one hand, and examined the diversity of modem color paintings through specific works on the other hand, since a number of color paintings similar to western Painting in style have been created today. In such diversity, works that are being currently created should contribute to taking over the tradition and further develop oriental colors with modem aesthetic sensitivity. This paper is aimed to help to do harmonious works with traditional and modern paintings by studying and classifying varieties of colors

• Journal of the Korea Computer Graphics Society
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• v.8 no.2
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• pp.31-38
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• 2002

This paper presents a method for real-time 3D Sumi-e rendering us ing normal graphics hardware. Sumi-e is one of the traditional oriental painting styles. Most research on Sumi-e paintings has focused on 2D or :2.5D Sumi-e brushwork simulation. On these systems. complicated user's hand drawing is required to generate the image of Sumi-e effects. and it can render the 2D or 2.5D Sumi-e images only. We present an automated rendering system for 3D image of Sumi-e painting. It uses 3D common object as an input data and does not need any additional input of user brushwork. Especially for the real-time rendering. hardware-accelerated algorithm for Sumi-e rendering is newly suggested in our system. It is designed with efficiency for customer level graphics hard ware. The results of this paper show that the features of traditional Sumi-e painting are successfully modeled and that 3D Sumi-e painting is rendered in real-time effectively.