• 복식
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• 제60권7호
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• pp.117-130
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• 2010

The four walls of mural paintings in Afrasiab, Samarkand, have discovered: the indian-concept east wall, the west with the paintings of envoys from a number of countries bringing in King's letters or gifts, the south describing traditional ceremony celebrating the new year, the north with a picture of a Chinese princess on board beside hunting scenes. Overall, Sogdians in Afrasiab mural paintings of 7th century had following costume codes: a very short haircut or the Turkic queue, a rather-narrow-sleeved caftan with round-neck, a belt and boots. The west wall showed various costume style of a set of envoys from countries. First, a Turkic envoy had 3-6 rows of long plaits, wearing a caftan with two lapels and a belt - interestingly, Sogdian and Turkic nobles didn't wear pochettes. Second, a Chaganiyan had a hairband on his short hair, and his colorful round-neck caftan is decorated with animal-patterned medallions and a golden belt. Third, a Chach wore a jewelled hairband, putting gaiters on his pants. Forth, a Chinese was in putou with a round-neck caftan, and with a belt and sword around his waist. Lastly, also appeared a Koguryo envoy in white putou with a double-bird-feathered crown on top, wearing a long-sleeved yellow v-neck top, a belt, narrow-cuffed pants and boots. Identical to the Sogdian statues excavated in various regions of China are the appearance of big eyes and nose -similar to the warrior stone in Korea- a hairband, and a pochette down from the waist line. During this period, white and red were considered as prevailing colors for clothing: red and yellow among Turks. The costumes of characters in Afrasiab mural paintings were preferably made with the animal-patterned, sophiscated samite Zandanachi of Sogdiana.

• 패션비즈니스
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• 제10권3호
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• pp.54-68
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• 2006

Suhainmyuldo (樹下人物圖) is a type of picture which expresses a person under the tree and is known to be brought to the Korean Peninsula from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini (or Iygsha), the fairy of tree, in India and the 'Tree of Life' in Western Asia which influenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way; for example, Jookrimchilhundo (竹林七賢圖: seven wise men in bamboo forest) in the Six Dynasty. There are only two items of female dress and its ornament from the 4th to 6th century Suhainmyuldo of the Goguryeo ancient tomb mural: one from the Jangchun Tomb No. 1 in which a female figure is portrayed as a part of living genre painting and the other from the Anahk Tomb No. 1 with seven female figures in a painting which is one of the earliest Suhainmyuldos, presumably from the 4th century. These two paintings must be considered in parallel with the origin of Suhainmyuldo. The mountain wizard's dress and Men's dress and its ornament in Suhainmyuldo from the 4th to the late 6th century Goguryeo ancient tomb is mostly joint adjust in which its collar is connected by a line and almost all the wizards are wearing Sang (upper garment). Most mountain wizards are wearing black feather shaped jackets and upper garments. One noticeable observation is that the mountain wizards of Mooyongchong, Tongu Ohgoibun Nos. 4 and 5 are completely different from one another in terms of ways to dress each wizard's official hats and shoes.

• 한국안전학회지
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• 제21권2호
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• pp.138-142
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• 2006

직업성 천식은 시안화물의 폭로에 의해 발생되는 것으로 알려져 있다. 남호주에 있는 가구산업에서는 일반적으로 목재판 위를 피복하기 위해 이중분사도포를 할 때 이소시안화물 도포제가 사용된다. 이 연구는 이와 관련 된 분야의 자료부족으로 관련 산업에서의 환경 및 피부와 안구폭로에 대한 모니터링을 위하여 수행되었다. 이 연구결과에 의하면 저압다량(HVLP)의 분사기 사용, 페인트 용액중의 저농도 경화제 및 전면 호흡보호구와 같은 적절한 보호구의 사용시에는 대기로부터 오염물질의 유입은 거의 없었고, 분사실 주변의 일반적인 작업범위에도 HDI 가 거의 감지되지 않았다. 페인트분사시의 일회용 장갑착용으로 피부폭로는 발견되지 않았으나, 칼라 모니터링에 의하면 장갑을 착용하지 않거나 청결하게 관리할 수 있는 공정이나 안전한 장소에 보관하지 않으면 작업장으로부터 피부폭로가 있었다. 페인트분사로부터 눈의 오염은 감지되지 않았고, 호흡기, 피부 및 안구에도 폭로되지 않았으며 유입과 가장 관련성이 있는 것은 작업형태이다.

• 건축역사연구
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• 제18권3호
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• pp.7-25
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• 2009

Hakbongjongtaek(The head house of Uisong Kim family, 鶴峯宗宅), firstly built in the early 17th century, was moved to its neighboring place in the late 18th century. The man who led the relocation(移建) of the house was the eldest grandson of the family, Jong-soo, Kim. He made and overall plan and also participated in building the house. There remain four Gados(family paintings, 가도(家圖)) related to the relocation plan. This paper aims to make an analysis of these Gados, and through analysis, to find what was the essential poing of the relocation plan and how the point was represented in the paintings. The result of analysis is as follows: 1. The main focus of relocation plan was the form of Anchae(the inner house). Anchae was designed as asymmetrical form, and restricted to four kan. Only Andaechung needed to be 6 kan size for religious ceremonies. 2. For the design of Sarangchae, the displacement of large Sarangbang and small Sarangbang was an important issue. There were two ways of layout: parallel type and facing type. The latter was chosen. 3. The representation and techniques of Gado is quite concrete, in spite of differences among them. The expression of doors, windows, attic and kitchen was based on the understanding of space. Also the spatial division, which was expressed line on the grid, was based on the scaled ruler. As we've seen before, painting the relocation plan was a kind of endeavors to make the housing type as a realization of Garye. Also, we can find out that role of the eldest grandson of the family was quite important to carry out the plan. As well as, it was meaningful to examine Sadaebu (the aristocrat of Chosun)'s perception of housing.

• 산업융합연구
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• 제19권6호
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• pp.139-144
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• 2021

아름다움을 추구하려는 인간의 행위는 가장 자연스러운 욕구이자 본능이기 때문에 외모의 중요성과 함께 인간의 외모 관리에 대한 미용학적 관심이 날로 증대되는 4차 산업혁명 시대에 부합하는 새로운 미용 트렌드(beauty trend)의 요구가 현시점에서 매우 필요하다. 이에 미용학(美容學)과 연관이 깊은 미술(美術)에서 근원을 도출하고자 18세기 프랑스를 비롯한 유럽에서 유행한 '시누아즈리' 풍의 서양화 속에 등장하는 여성 헤어디자인의 형태(形態), 질감(質感), 색상(色相) 등에 대하여 그림을 통해 면밀한 연구 및 분석을 하였다. 연구결과 네 개의 서양화 속 등장하는 여성의 헤어디자인에는 각각의 개성 있는 형태, 질감, 색상의 특성을 나타냈다. 본 연구를 통해 촌각(寸刻)을 다투면서 빠르게 변화하는 시대를 사는 현대인에게 뉴 모드(new mode)의 헤어스타일 개발의 초석(楚石) 구축과 함께 다양한 미용 콘텐츠(contents) 개발을 위한 시금석(試金石)으로 작용하고자 한다.

• 복식
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• 제59권4호
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• pp.82-97
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• 2009

In this study, it can be identified that drawing style of cartoon and fashion illustration are mutually linked and interchanged. The common background of drawing style between cartoon and fashion illustration, is as follows; 1. A means of image communication through mass communication 2. Similarities as visual signs 3. The borderless of painting, illustration and cartoon. 4. Usage of common drawing expressions such as deformation, distortion, exaggeration, metaphor, metonymy. Drawing style interchanging between cartoon and fashion illustration, is as follows; 1. Similar to figure and face are contemporary style, similar figure, Anime style and humourous style. 2. Similar to the way of express is focusing on the line, simplification, mixed computer graphics with hand drawing, artistic expression, the way of multimedia.

• 대한기계학회:학술대회논문집
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• 대한기계학회 2003년도 추계학술대회
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• pp.1757-1762
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• 2003

For coping with various ship types easily, welding automation using CAD/CAM is demanded and and developed. In this paper we propose a dedicated CAM system which generates MACRO files to control robot manipulators. The paper contains CAD interface, virtual simulation, macro generation and job schedulling. At first, it defines and extracts weldline from CAD data, and generates proper MACRO programs. And it obtains optimum job schedules. This system removes the manual work, and consequently reduces the overall lead time. And it reduces costs and time for developing robot welding programs. This can be expanded to virtual factory simulation technology. Moreover, it is possible to apply this system for automation of Cutting and Painting

• 한국실내디자인학회논문집
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• 제22권1호
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• pp.97-104
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• 2013

This study aims at finding out the characteristics and influences of Libeskind's early drawing works through comparisons of each drawing. The importance of his experimental drawing works is not only their uniqueness but also relationship to creation and development of his architecture. Libeskind's musical and educational background had great impacts on forming his early drawings. A series of drawings including 'Micromegas', 'Chamberworks', and 'Theatrum Mundi' shows variety and experiments about reconstruction of three dimensional architectural fragments, abstractive line drawing and plane oriented painting. Libeskind himself cease to experiment drawing techniques but their characteristics still remain in his sketches, diagram and conceptual drawings. In spite of influences of undergraduate design studios, theoretical background of graduate studies, their experimental features are due to his continuous endeavor to make and develop his drawing skills and contents. As a result, his early drawings act as media and way to communicate and develop his concepts.

• 대한기계학회논문집
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• 제13권5호
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• pp.947-951
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• 1989

본 연구에서는 디지틀식 균열속도 측정장치를 보완, 확장시켜 몇몇 고분자 (polymer)재료에 있어서의 동적 균열전파속도를 측정하였으며, 다른 연구자들의 실험 데이터와 비교하였다.

• 한국HCI학회:학술대회논문집
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• 한국HCI학회 2008년도 학술대회 1부
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• pp.426-432
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• 2008

회화는 2차원 평면 위에 색과 선을 사용하여 여러 가지 형상을 표현하는 조형예술이다. 본 논문에서는 이러한 회화의 평면적 특성에 입각하여 3차원 물체들로 구성된 장면을 화가가 캔버스 위에 붓을 놀려 채색한 것과 같은 회화 스타일로 렌더링하는 방법을 소개하고, 카메라의 시점과 시선이 변화하는 동적인 장면에서 여전히 평면적 특성을 유지하면서 붓질의 방향이 처음에 지정된 방향을 유지하도록 변화하는 방법을 제안한다. 회화의 정의에 띠라 캔버스와 같은 2차원 평면 위에 붓으로 칠한듯한 효과를 연출하기 위해서 본 논문에서는 화면 공간 위에서 크기가 동일한 빌보드를 사용하여 붓질-붓을 한번 놀려 색을 칠하는 것-을 한다. 화면 전체에 붓질을 하여 장면을 렌더링 하여도 장면을 바라보는 카메라가 움직이면 처음의 붓질 방향을 유지하기 위하여 붓질의 방향 역시 변하여야 한다. 만일 붓질이 변하지 않고 동일한 방향을 유지한다면 마치 일정한 붓질 모양의 패턴이 있는 유리 뒤로 물체들이 움직이는 것 같은 시각적 오류가 있는 결과를 얻게 된다. 이것을 막기 위하여 본 논문에서는 장면 안에서 시점이나 시선의 방향이 바뀌는 애니메이션이 일어날 때 그에 맞춰 물체 위의 붓질이 함께 회전하는 방법을 제안한다. 붓질이 회전할 각도는 첫 프레임의 장면과 현재 프레임의 장면의 샘플 포인트들에 대하여 위치 차이를 비교하는, least-square solution을 사용하는 Horn의 2차원 유사성 검사를 수행하여 얻는다. 본 논문에서는 실험을 통해, 처음에 회화 스타일로 렌더링된 장면에서 실시간으로 카메라를 움직이며 붓질의 방향이 변화하는 모습을 관찰하였고, 처음에 지정된 방향을 유지하도록 회전하는 것을 확인하였다.