• The Journal of the Korea Contents Association
• /
• v.14 no.8
• /
• pp.84-94
• /
• 2014

Among artworks of Shin Sa-Im-Dang, 'grass and insect painting' was drawn the rustic materials that cannot be seen without a loving attention because they are too small and insignificant creatures. Likewise, 'grass and insect painting' is work that can feel the wonder of life, simplicity, and womanly sensitivity unique. Therefore, beauty of Korea can be found through the works. It needs to develop high value-added culture products with her works which contained this unique beauty of Korea and artistic soul. In this study, I tried to develop the scarf textile designs which had Korean sentiment with the Shin Sa-Im-Dang's 'grass and insect painting' and to make the scarves with the textile designs developed. For the purpose, theoretical examination about her art world and artworks was first performed. And then six scarf textile designs which based on them were developed using adobe illustrator 10.0, computer design program. The textile designs developed were printed on 100% silk satin using textile digital printing system. Six scarves were made with them.

• The Journal of the Korea Contents Association
• /
• v.11 no.3
• /
• pp.137-146
• /
• 2011

Development of mobile devices such as smart phones and tablet PC and increased usage for mobile contents make researches of mobile computer graphics noticeable. However, previous non-photorealistic renderings such as an ink-and-wash painting with thin colors are almost designed for desktop platform and not well-matched for mobile devices. In the result, mobile-specific rendering techniques are needed to create 3D mobile contents with non-photorealistic graphics. We introduce processing techniques that are especially ink-and-wash painting and oriental thin coloring in mobile devices. Through the result of this paper, it is expected that various 3D mobile contents with non-photorealistic styles are made. Proposed work also can allow mobile devices render it in realtime using proposed preprocessing techniques and rendering pipelines.

• Cartoon and Animation Studies
• /
• s.48
• /
• pp.23-44
• /
• 2017

This study explored aspect and intermedial characteristics at the beginning of the abstract animation and the semiotic meaning of abstract animation. Abstract animation was formed by arbangaridist, and there was an abstract painting on its foundations. The abstract painting belong to 'symbol sign' and do not represent specific objects. The abstract animation loses its object and we knew that the abstract animation itself to be object. Abstract animation is a category of ' media combination ' that combines abstract painting and music with intermediality. Abstract animation began based on abstract paintings, but was combined with music and time, and evolved into new media. The abstract animation was started by avant-gardists such as Walter Ruttman, Viking Eggeling and Hans Richter. They set aside their own time of abstract animation based on music. Oskar Fischinger was influenced by Walter Ruttman who completed abstract animation and went to America to continue his work. After Oskar Fischinger, John Whitney continued his genealogy using computer graphics. The abstract animation was faithful to the underlying meaning of the medium in the absence of the object for representation.

• The Journal of Art Theory & Practice
• /
• no.2
• /
• pp.27-48
• /
• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.

• Journal of the Korean Geographical Society
• /
• v.19
• /
• pp.41-51
• /
• 1979

Since 1971 when the nation wide 'New Community' movement was launched to improve rural standards of living, dol and thatched-roof houses have been reshaped or removed, thereby making it hard to find time-honored people's living structures in the countryside. Since 1977, the improvement work of rural houses has started throughout the country, so many new rural residences have been constructing along the highway, main roads, railways and around the sightseeing area, New rural houses do not show, for the most part, the traditional architectural style and the nation's unique conventional ways of living. The writer tried to find solutions to the problems derived from improvement work of rural residence, in a comparative method of traditional rural houses and newly constructed rural ones. The greater part of new rural houses' types, painting colors, and fence types had been recommended by provincial administrative trative officials. Officials recommended them to the farmer with their standards, which did not consider farmer's convenience of traditional way of life, but a fine sight from the highways or railways. Korea's three basic roof types are the HAPKAK roof (gabled and hipped), the UCHINKAK roof(hipped), and the BAKKOONG roof(gabled). However, the gabled roof houses, having their entrance on the gabled side, are found more ofter in new rural village. As mentioned above, architectural style is not harmonious with the topography and climate i Korea, because it is not Korean traditional type, but one of the western styles. And new rural house plans are inconvenient in the conservation rural family system, because of the same category with urban houses plans. Other problems derived from ton-traditional architecture style are roof painting in 4-5 colors in a new village, types of wall and fence, and attached building in the site.

• Journal of Preventive Medicine and Public Health
• /
• v.30 no.4 s.59
• /
• pp.830-839
• /
• 1997

Painting is risky work to occupational skin disease. This research was carried out to investigate the prevalence of occupational skin diseases in painting department of a shipyard company in June 1996. Dermatological examination, self-administered questionnaire survey were conducted. Exposed group(n=379) was selected randomly in painting department and control of group(n=151) was selected in those who had not exposed to paints or solvents. The prevalence of contact dermatitis(11.9%) is significantly elevated compared with control of group(2.6%), and odds ratio(OR) is 4.95 (95% confidence interval[CI]: 1.75-14.02). The prevalence of Tinea pedis, the most common skin disease, in exposure group is 48.0%, and its odds ratio(OR) is significantly elevated compared with control group (OR:3.18, 95% CI: 2.06-4.90). Pompholyx is also significantly elevated in prevalence(11.9%) and OR(OR:6.64, 95% CI:2.03-21.69). There were no difference in the prevalence of contact dermatitis, Tinea pedis, and pompholyx by use of personal protective equipments(PPE), job categories, and duration of employment in painting department. In exposure group, 71.1% suffer from contact dermatitis improved in vacation or holiday and 68.9% of them had lesion on exposed area, it suggest that contact dermatitis in exposed group is related to their work. In conclusion, workers in painting department have high risks of contact dermatitis, Tinea pedis, and pompholyx. A health policy should be provided to prevent skin disease among painting department.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.36 no.5
• /
• pp.512-522
• /
• 2012

This study examined the work environment and wearing conditions of industrial protective clothing in shipbuilding workshops. It also investigated the relationship between the wearing sensation of industrial protective clothing and overall comfort, according to work process. In addition, the work posture according to work process was evaluated based on ergonomic factors. The wearing rate of industrial protective clothing was 73.3%, 66.7%, and 60.1% for workers engaged in welding, grinding, and painting, respectively. The harmful work environment factors, listed from most harmful to least harmful, were found to be high temperature pyrogens, noxious fumes, organic solvents, UV rays, and heavy dust. The aspect of wearing performance of industrial protective clothing that was most related to user dissatisfaction was poor sweat absorbency. In terms of the correlation between the overall comfort and the wearing sensation of industrial protective clothing, the satisfaction was low shown in orders of physiological comfort, sensual comfort, and movement comfort.

• Journal of the Ergonomics Society of Korea
• /
• v.31 no.1
• /
• pp.177-183
• /
• 2012

Objectives: The objectives of this study are to discuss the importance of job stress and to introduce a model of job stress at the shipbuilding industry considering the characteristics of the shipbuilding works. Background: Shipbuilding works consist of grinding, painting, interior works, welding, and assembling and using heavy equipment in narrow space or work at outside or at high and dangerous places. The working environments aggravate the stress to the workers. Methods: Studies of job stress in industries including shipbuilding industries were reviewed and the characteristics of jobs of shipbuilding were analyzed to find causes of job stress. Results: A model was constructed based upon these findings and reviews. Conclusions: Job stress of shipbuilding workers are very high and thus job and working conditions need to be improved to attenuate the level of job stress of shipbuilding workers. Applications: This model can be used to identify the highly stressed workers and sources of stress.

• Journal of Environmental Health Sciences
• /
• v.35 no.3
• /
• pp.153-161
• /
• 2009

The purpose of this paper is to evaluate 1) blood lead levels of workers at auto repair shops as Biological Exposure Indices (BEI) of toxic substances such as lead and toluene that are produced during automotive painting process, 2) the differences depending on personal characteristics of workers who have been exposed to toluene by using urine hippuric acid concentration as a marker and 3) the correlation between the concentration of hazardous chemicals in each workplace and the BEL. All subjects were male with a mean age of 36.2 years. In terms of age, most were in the 30 to 40 age group (13 persons, 48.1%). In relation to the length of work experience, the highest proportion had experience of 10 years of less (18 persons, 66.7%). Twenty three workers were cigarette smokers (85.2%) while 4 (14.8%) were non-smokers. In addition, more than 80% of the workers drank alcohol. Dust concentration and toluene exposure during automotive painting showed no significant difference with age, length of work experience, smoking and drinking while a significant difference (p<0.05) has been detected between lead concentration and smoking. The geometric mean of dust concentration, lead concentration and toluene concentration were $0.38mg/m^3,\;0.0021mg/m^3$ and 1.08ppm respectively. In addition, the geometric mean of blood lead levels and urine hippuric acid concentration were $1.70{\mu}g/dl$ and 0.25g/g respectively, which were lower than the standard levels suggested by the Ministry of Labor. To determine the influential factors on blood lead and urine hippuric acid concentrations, a correlation analysis has been conducted with variables of air, lead and toluene concentrations, age, length of work experience and amount of cigarette smoking. According to the analysis, a relatively high correlation (p<0.01) has been observed between air lead concentration and biological sample concentration.

• Transactions of the Korean Society of Mechanical Engineers
• /
• v.19 no.1
• /
• pp.22-37
• /
• 1995

Industrial robot has played a central role in the production automation such as welding, assembling, and painting. There has been, however, little effort to the application of robots in machining work(grinding, cutting, milling, etc.) which is typical 3D work. The machining automation requires a high stiffness robot arm to reduce deformation and vibration. Conventional articulated robots have serially connecting links from the base to the gripper. So, they have very weak structure for he machining work. Stewart Platform is a typical parallel robotic mechanism with a very high stiffness but it has a small work space and a large installation space. This research proposes a new machining robot arm with a double parallel mechanism. It is composed of two platforms and a central axis. The central axis will connect the motions between the first and the second platforms. Therefore, the robot has a large range of work space as well as a high stiffness. This paper will introduce the machining work using the robot and design the proposed robot arm.