• Journal of Digital Convergence
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• v.15 no.8
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• pp.333-340
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• 2017

Timelapse is an imaging technique that captures motion at regular intervals and then projects it at normal speed. We looked at Timelapse advertising images of global brands and presented a model for analyzing components and expression methods of Timelapse, a new image technique. In previous research, literature research, Internet data survey, and YouTube data were investigated. Continuous photography has been developed as an imaging technique, and we have examined the current production status applied to domestic and foreign documentary, domestic and foreign drama, film, and advertisement. In 2015-2016, I will analyze the techniques of iPhones (2016), Ralph Lauren Polo Ads (2015), and Canon EOS (2013) videos that use Timelapse techniques in their recent advertisements. The results show that the Timelapse component is a static element, the static motif is mainly an artificial structure, the place is outdoor, the color is taken at a time showing the characteristics of the place, and the layout is all centered. The dynamic motif is a moving object. The dynamic line consists of a story based on the object. The time is about 11-15 seconds, the longest is about 1 minute and 30 seconds, and the editing is mainly focused on the product with the brand logo emphasized. In conclusion, it is the role of the image to pay attention to the advertisement and catch the eye. In order to motivate the buyer's mind, it is necessary to direct and edit such as Timelapse, which stimulates the emotions inherent in the mind and stimulates the non-verbal symbols. Future research is likely to reveal various attempts at temporal editing of images.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• Journal of Science of Art and Design
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• v.11
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• pp.79-108
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• 2007

"Printing is an Art of reproduction & a Technique of However printing has extended its limitation from a genre of reproduction itself and now it stands on the turning point as an art such as painting or sculpture which expresses artist's originality. Early Printing has had relations in depth with press printing in terms of information recording, preservation, and transmission. It was acknowledged value in a way of information satisfaction different from how it is valued as a pure art today. But, later printing has transferred its function from a mean of reproduction to pure art due to the development of printing skills and photography invention. It can be said that the concept of modern printing is taking over its genealogy as a creative work not as just printing. Also its expression capability is widen to dimensional printing and high-tech multimedia from original tradition techniques. As we discussed above, modern painting is very open to various changes. This modern painting aspect can be seen as an extended interpretation of 'board' concept. This dissertation raises a question why monotype and monoprint couldn't secure its position in printing history in spite of numerous artists' tryouts in its way. Monotype and monoprint fundamentally based on intaglio technique in its history. Yet, its systematic study hasn't been worked out. This is because of the lack of recognition of monotype and monoprint's originality as printing. Especially in monoprint, it has known as an early stage in copperplate printing process which is an attempt to solve the technique limitation or trial work for edition. Likewise the reason why monotype and monoprint remains at the edge of printing border ambiguously is because of conceptual, technical characteristics which are against traditional printing. In traditional printing, the concept of board is important as a method of reproduction. Different from the fact, monotype and monoprint accept the form of medium 'board' conceptually out of limited condition as mentioned. Thus monotype and monoprint hasn't stand out for several reasons until late 20th century when it started come out to public as people starts to have interests that works from famous artists are actually based on monotype and monoprint. This dissertation likes to step into the monotype and monoprint theoretically which is not well known in domestic and try to study the meaning of monotype and monoprint as a printing medium which is also hasn't been considered sincerely. For this study the process follow as below. First, look into how monotype and monoprint has a concept and history. Next, check differences through comparison with traditional printing and how printing can be understood in what aspects at the same time. After, verify how monotype and monoprint have influence on the acceptance of extended concept of 'board'. This study will show the expressional possibility of monotype and monoprint which has already known as 'tableau printing' in today's situation where adventurous experiments of printing medium are going on with the development of technology.

• Conservation Science in Museum
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• v.21
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• pp.53-66
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• 2019

This study describes the processes undertaken for the conservation treatment of metal artifacts excavated in Hasong-ri, Yeongwol, Gangwon-do and the results of the related surface composition analysis. X-ray fluorescence analysis (XRF) was applied to analyze the surface composition of a small gilt-bronze wind chime, two clappers, and a small gourd-shaped bronze bottle. The gourd-shaped bronze bottle was investigated using radiography to examine its internal structure. The wind chime and clappers were excavated from the same location. A gilt layer was identified on the wind chime, but surface corrosion made it difficult to identify any such layers on the clappers. The element analysis revealed that the wind chime was made of bronze in a Cu-Sn-Pb ternary system and was gilt-plated using mercury amalgam. The clappers were made from copper with a small amount of gold detected, but did not show any evidence of mercury. Since a thick corrosion layer was affixed to the surface of each clapper, it was impossible to identify the surface composition and determine if the clappers had been gilded. It is possible that the gold detected from the clappers was a foreign substance or had detached from the giltbronze wind chime buried alongside them. The small gourd-shaped bronze bottle was investigated through surface element analysis and radiography to verify if it was a type of silver bottle used as currency during the Goryeo dynasty. The radiography photography identified that a small hole in the middle of the base had been stopped up. The general surface analysis did not detect silver, which suggests that the bottle was made of bronze instead and was not one of the silver bottles used as a means of currency.

• The Journal of Art Theory & Practice
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• no.2
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.2 no.1
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• pp.93-104
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• 1982

DTM data evaluation regards accuracy and efficiency as its most important parameters, and these two elements are sensitively influenced by the sampling technique employed and its procedure. This study attempts to improve sampling techniques and evaluate the accuracy of DTM based on earth volume calculation, using aerial photography and field survey information as basic DTM data, and a regular grid and progressive sampling method for sampling process. Especially, the progressive sampling has employed different combinations of threshold and sampling criteria, that is, parameters influential on efficiency and accuracy, for the purpose of numerical tests intended to permit comparative analysis. The tests have resulted in the findings that in progressive sampling its grid density fits in well with given terrain characteristics in proportion to their variability. and that threshold and accuracy contain close mutual relations in which an increased threshold bringing more efficency but less accuracy. It follows, therefore. that a threshold, when appropriately determined, can be of very efficient use for considerably broad applications, and particularly, will play a significant role in its application to such general civil engineering as earth volume calculation.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.5
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• pp.71-86
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• 2017

This work explores the historical transformation of manual landscape architectural drawings in terms of hybridization to uncover their inherent creative aspect. Landscape architectural drawing has duel functions; namely, scientific instrumentality and artistic imagination, which are relative, interchangeable, and transformable. These characteristics have been embodied in the forms of particular types of drawing, projections, perspective views, and diagrams, which are not so much clearly distinguishable as rather mutually complementary and hybridized. In particular, the pictorial views of plants in the forms of a perspective view or elevation were frequently hybridized to projection drawings of grounds and architectural structures, which is called planometrics. Particular drawing types have often emerged as suitable and thereby dominant forms, depending on the particular historical styles of landscape design. Sixteenth-century Italian Renaissance gardens and seventeenth-century French formal gardens were generally visualized in the form of projections. Eighteenth-century and early nineteenth-century English landscape gardens were frequently represented in a pictorial perspective view. In nineteenth-century America, different drawing techniques such as competition drawing, photography, and map overlay were specialized depending on their respective functions. Twentieth-century American modernists began to explore the diagram to deploy design strategies. In such transformation, however, the planometric, which considers both the ground plane and plant's frontal identities simultaneously and thereby is suitable to landscape design, was frequently used as a hybridization technique. In the mid-nineteenth century, a top view of plants replaced the planometric, and then, in the twentieth century, plants were no longer represented artistically, instead reduced to the forms of standardized flat symbols. The use of instrumental visualizations thereby gradually increased rather than the use of an imaginative representation for landscape architectural drawings.

• Journal of the Korea Computer Graphics Society
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• v.16 no.4
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• pp.25-33
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• 2010

With the popularization of digital photography, people are now capturing and storing far more photos than ever before. However, the enormous number of photos often discourages the users to identify desired photos. In this paper, we present a novel method for fast and intuitive browsing through large collections of geo-referenced photographs. Given a set of photos, we construct a hierarchical structure of clusters such that each cluster includes a set of spatially adjacent photos and its sub-clusters divide the photo set disjointly. For each cluster, we pre-compute its convex hull and the corresponding polygon area. At run-time, this pre-computed data allows us to efficiently visualize only a fraction of the clusters that are inside the current view and have easily recognizable sizes with respect to the current zoom level. Each cluster is displayed as a single polygon representing its convex hull instead of every photo location included in the cluster. The users can quickly transfer from clusters to clusters by simply selecting any interesting clusters. Our system automatically pans and zooms the view until the currently selected cluster fits precisely into the view with a moderate size. Our user study demonstrates that these new visualization and interaction techniques can significantly improve the capability of navigating over large collections of geo-referenced photos.

• Korean Security Journal
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• no.61
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• pp.377-400
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• 2019

Photography is the most commonly used method of documenting the crime and incident scene as it helps maintaining chain of custody (COC) and prove integrity of the physical evidence. It can also capture phenomena as they are. However, digital images can be manipulated and lose their authenticity as admissible evidence. Thus only limited techniques can be used to enhance images, and one of them is Fourier transform. Fourier transform refers to transformation of images into frequency signals. Fast Fourier transform (FFT) is used in this study. In this experiment, we overlapped fingerprints with graph paper or other fingerprints and separated the fingerprints. Then we evaluated and compared quality of the separated fingerprints to the original fingerprints, and examined whether the two fingerprints can be identified as same fingerprints. In the case of the fingerprints on graph paper and general pattern-overlapping fingerprints, fingerprint ridges are enhanced. On the other hand, in case of separating complicated fingerprints such as core-to-core overlapping and delta-to-delta overlapping fingerprints, quality of fingerprints can be deteriorated. Quality of fingerprints is known to possibly bring negative effects on the credibility of examiners. The result of this study may be applicable to other areas using digital imaging enhancement technology.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.1
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• pp.76-84
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• 2019

This study was conducted for the purpose of examining the Outstanding Universal Value, World Heritage Values, in Suzhou classical gardens and the operational method of the protection management of historic gardens, and the results of the study are as follows; The first, as a world heritage, Suzhou gardens proved OUV by showing the taste and lifestyle of the literati, the unique class of Chinese history, to the natural environment of the East Yangtze Delta region. In addition, it showed the exchange of international culture with unique Chinese garden techniques. Second, a authentic reconstruction of garden have original value because it exist records of the near past. The 20th-century archives described by the contemporary language and describing the heritage through images using such media as photography and drawing played a decisive role in restoring gardens. Third, the protection management of Suzhou gardens, which began in the 1950s, was carried out in detail, including the reconstruction of components such as buildings, the restoration of plant materials and horticulture technique, the creation of a list through the records of trees, the maintenance of props such as plaque, furniture, and the project to improve water quality and restore waterscape. The last, after the World Heritage inscribing, Garden's protection management was proceeded in two directions. One is that through the reorganization of the administrative management system and the enactment of laws related to Suzhou classical Gardens, the listing heritage is strictly protected and managed, and the other is that the historical gardens are used to establish urban masterplan and urban identity in Suzhou. The range of garden properties greatly expanded by distinguishing the principle of conservation from protection to rational use and the grade of protection, such as whole protection, maintenance protection and protection of historical sites.