• Proceedings of the IEEK Conference
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• 2002.06d
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• pp.307-310
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• 2002

Color reproductions in most ink jet printer are quite different from that of standard CRT (cathode ray tube) monitor display because of the nonlinear characteristic in subtractive color reproduction. Gray scale CCT(correlated color temperature) reproductions in a typical printer are vary with the input RGB level. A simple method for making constant gray scale CCT and gamma value in photo paper is proposed in this paper. The compensation of the CCT with white point of the photo paper under the CIE standard illuminant D65 and color correction has been confirmed using the LUT(look-up table) to compensate the CCT and gamma curve characteristic.

• Journal of Conservation Science
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• v.38 no.4
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• pp.301-313
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• 2022

We made a Korean white porcelain or Joseon Baekja jar and based on the raw materials used and reproductions of each stage, we aimed to compare and analyze the physicochemical changes of the raw materials such as clay at each manufacturing stage, as well as identify the characteristics and correlations. Although the basic main components of clay and glaze material are similar, their texture becomes denser in the process of bisque firing pottery (Chobeol-pyeon) and glaze firing pottery (Jaebeol-pyeon), and we confirmed that in addition to the tendency of increasing vitrification, low-temperature minerals such as mica and illite gradually disappeared, while high-temperature minerals such as cristobalite were newly created. This phenomenon has also been verified by the rapid decrease in absorption rate while the change in specific gravity was small. In addition, the color was greatly affected by the firing atmosphere, and the yellow-red chromaticity of the raw materials was higher during bisque firing but showed a rapidly decreasing characteristic during glaze firing. The value of magnetic susceptibility, which is related to iron (Fe) component, showed a tendency to decrease in glaze firing pottery. CT images were confirmed as a method that can indirectly estimate the change in the material properties of the object step-by-step for the entire object. In conclusion, the study of manufacturing stages of reproduction can provide basic data for scientific research on the estimation of porcelain and pottery making technology and changes in raw materials.

• The Journal of Art Theory & Practice
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• no.2
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• pp.169-190
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• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• Cartoon and Animation Studies
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• s.41
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• pp.487-510
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• 2015

In recently, thanks to the development of computer and internet, and reinforcement of digital media literacy of ordinary people, many users of comics and animations recombine contents into various ways, including UCCs. In a glance, it seems these outputs violates the copyrights of contents. But in reality, they helps the growth of the ecosystem of contents market, with increase of contents users. The reason of these reproductions inclines the characteristics of animation media. Animation, which are constituted by plastic symbols, auditory symbols, and narrative symbols, and Comic, which supports stories of Animations, affects as 'Imaginary signifier'. These signifiers helps users of contents to dismantle and reassemble stories. These aspects are seen in doujin culture, animation soundtrack fandom, and voice actor fandom. But In this article, we will concentrate into cosplay culture. Cosplay culture shows more active appearances than another fandoms. In especially, cosplay stage and daily cafe show more active reproductions of characters and communications. However, they are done by youth fans, which has not enough financial abilities: therefore, events are not sustainable and discontinued. And they have another limits, like lack of opportunity of performance. In the reality of Korean society, which needs of community making by community member, and hybrid culture, comics and animation productions in Korea are in need of access positively and encourage reproductions of active receivers of animations.

• Korean Journal Plant Pathology
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• v.10 no.4
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• pp.249-253
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• 1994

Twenty six isolates of Magnaporthe grisea originated from rice and other gramineous hosts Korea were tested for mating type with MAT1-1 and MAT1-2 standard isolates. Ninety three and 64% of rice and grass isolated mated and produced perithecia with standard isolates, respectively. Both mating types were found from rice and non-rice isolates, but MAT1-1 allele of M. grisea was predominant in Korea.

• Journal of Korea Multimedia Society
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• v.10 no.12
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• pp.1601-1611
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• 2007

In this paper, we presented geometric CAD watermarking scheme for Architectural design drawings using line, arc, and circle components to prevent infringement of copyright from unlawfulness reproductions and distribution. The conventional CAD watermarking scheme can be applied to both line and arc components. But the proposed scheme consists of line, arc and circle watermarking schemes for three basic components of CAD design. After extracting line, arc and circle components from designed drawing, the watermark is embedded into the length of Line component, the angle of arc component, and the radius of circle component considering the robustness against various geometric transformations. The embedding strengths in each component are determined to be preserving the transparency of the watermark. By experimental result, we confirmed the robustness and the invisibility of embedded watermarks in several conversions of architectural design drawing.

• Proceedings of the IEEK Conference
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• 2003.11b
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• pp.247-250
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• 2003

This paper proposed to digital watermarking technique for architectural drawing using LINES and ARCs based on vertex in CAD system to prevent infringement of copyright from unlawfulness reproductions and distribution. After extract LINES and ARCs from designed drawing, we embed watermarks using adaptive algorithm in each characteristics. Watermarks robust to various attacks like as geometrical transformation as being embedded in LINE's length and ARC's angle information. Also, the proposed method satisfies enough transparency about watermarked drawing because have suitable embedding strength to each component. By experimental result, we confirmed robustness and invisibility of embedded watermarks in several conversions of architectural design drawing.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.232-246
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• 2008

The museum starts from drawing many visitors by opening remarkable exhibitions, and finally aims to realize the social and educational value. However artifacts on exhibition have antithetic conditions like limitation of collection, problems of preservation, etc. Already the museum exhibited paintings and fine arts reproduced with complete fidelity, so artistic artifacts have meet the aims of exhibition. we would like to make an alternative proposal about costume relics in this way. Costume relics need to reproduce in two ways. The one way is to reproduce with complete fidelity and the other way is to restore the original form. The reproduction and restoration need a concrete survey, historical research, textile like artifacts. Furthermore it is important to reconstruct breakage and discoloration. Permanent exhibition consisted of reproductions helps appreciating as well as protecting artifacts, so exhibition effect will be enhanced.

• Journal of Korea Multimedia Society
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• v.9 no.6
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• pp.709-719
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• 2006

To protect against unlawful reproductions and distribution, the current paper proposes a digital watermarking technique for architectural drawings produced using a CAD system. First, the POLYLINEs are extracted from the drawing; then, an adaptive algorithm is used to embed a watermark in the characteristics of each POLYLINE. Next, the CIRCLEs are embedded using an adaptive watermarking algorithm related to the radius of circle from drawing. The proposed watermarking scheme is robust to various attacks, such as the geometrical transformation. Additionally, the proposed method satisfies the requirement of transparency for CAD program. It used AutoCAD 2002, which is commonly used as a CAD program for experiments. Experimental results confirmed the robustness and invisibility of the embedded watermarks in several conversions of an architectural drawing.

• Acta Via Serica
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• v.6 no.2
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• pp.21-36
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• 2021

This paper discusses textile motifs depicted in the hunting panels inside the late Sasanian larger grotto at Taq-i Bustan. Scholars of Iranian art have referred to these rock reliefs in order to trace the origin of Sasanian textile decorations and their exportation in the whole medieval Eurasian continent. This however does not seem to be the case. In fact, the textile motifs reproduced at Taq-i Bustan could be a good term of comparison only for late Sasanian textile production. Moreover, nothing like this has appeared in previous Sasanian rock reliefs. For this reason, the present paper argues that some of those motifs could actually be importations from Central Asia where reproductions of textiles embellished with those motifs were very popular. Islamic written sources on Taq-i Bustan rock reliefs could be very useful to support some ideas expressed in this paper.