• Journal of the Korean Academy of Esthetic Dentistry
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• v.27 no.2
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• pp.105-115
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• 2018

Not to recreate the final prosthesis is the shortest way to get a successful outcome. In the case of an aesthetic prosthesis, it is important not only the condition of the oral cavity but also the whole harmony in the face such as the interpupillary line and the smile line. But the dental technician creates the prosthesis only based on the oral model. So if you want to prevent the failure of the prosthesis due to discordance with the face, it is a good idea to use patient's facial photography and provisional restorations to reproduce facial features, shapes and aesthetics before switching to a final prosthesis. To prevent the failure of the final prosthesis, it is important to communicate among the patient, the technician and the doctor according to the model diagnosis, facial and oral photos. Then all the technicians will get satisfactory results. In addition, the technician have to understand the form of natural teeth, to analyze and reproduce colors, and to understand materials in order to produce a successful aesthetic prosthesis. From now on, I will explain two parts. At first, the communication in the dental office for the successful production of aesthetic prosthesis through the clinical case. And the second, my opinion for the successful aesthetic prosthesis.

• The Research Journal of the Costume Culture
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• v.6 no.1
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• pp.84-93
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• 1998

The main focus of this paper is to provide clear understanding about the concept of make-up as total fashion by defining the essential meaning of it. First, we would like to go over the concept of make-up and total fashion, then analyze the make-up image, the changes of colors and images of make-up overtime and fashion that have influenced over those changes. In this paper, we analyze the trend of fashion and make-up in 1990s and their relevancy. Through this paper we hope that make-up can be accepted as a part of total fashion in its relationship with other elements such as shoes, clothes and accessory and that it can be considered as a independent art that has direct influence on people. The trend of Spring/Summer between 1990 and 92is the image of natural beauty and comfortable and modernistic image that can be experienced through nature. In 1992, there was a revival look of 1960s and 1970s. Make-up also followed this trend. The overall color tone was to give natural and stable images with pastel tone to soften the images. This tone brought back the ecology of 1960s. The theme of restoration in humanity and nostalgia was reflected in clothing, and these trend changed the ecology of make-up to peace, love and romantic ecology which was expressed in coral, blue, and green tone to create intelligent image of woman. Year 1996 could be called as color revolution period that emphasized the unique and individual expression of each person. In 1997, black, pastel and brown colors were the result of reinterpreting the classic and sexy images of 1960s to natural and modernistic image of 1997. Purple color started to be introduced to us. The beginning of 1990s Fall/Winter season was based on ecology concept that emphasized the natural image. Until 1995 it appeared that spring/summer and fall/winter trend had no big differences. But from 1995 seasonal differences in trend are appeared and there were various make-up designs. In 1995, 1996, brown color lines make-up comes to mix with romantic image and developed into wine, orange, neon colors. These color were the symbol of property and sentiment and gold make-up emphasizing the eye area was the tendency of that period. In 1997, the fear of coming end of century was expressed as decadent image and at that time ethnic image, romantic image appeared with vivid color lines, gold, red and violet.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.131-138
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• 2019

The film enters the color film from black and white, and the screen image changes qualitatively. The color in the film not only has the reproduction function of the restoration object like the objective appearance, but also has the function of conveying different subjective emotions. It can express the color and can't express it. The artistic effect conveys the information content that the story itself can't convey, so the color of the film becomes an important part of the film language. The color in the film is presented on the screen in the form of single-screen color, scene color, full-color color tone, and various color chains designed according to different contradictions and conflicts. Because the film art and art means are assembled by montage, he colors in the picture also form a montage form. People call it "color montage". People's subjective nature of color criticism and acceptance of color language also depend on various local tones. The accurate expression of the relationship, the unique attribute of color determines that the color must enter the structural state in order to express its unique charm. The color of the film only has the real aesthetic value when it enters the level of "color structure". This paper studies the color of Chinese and Western films from the differences between the color thinking of Chinese and Western film directors and the cultural implication of Chinese and Western film colors. The western film director emphasizes the structure of color and pays attention to the use of tonal montage to convey the characters. Emotions reflect the characteristics of a subjective color. Beginning with the "fifth-generation" director of Chinese film, the new journey of film color language has been opened. In the process of blending love and scenery, the film style of "image-in-one" has been achieved.

• Journal of Conservation Science
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• v.33 no.6
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• pp.507-518
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• 2017

Through a combination of scientific analytical methods, the coloring materials used in $20^{th}$ century paintings in historical churches of Baclayon, Dauis and Loay, which are municipalities in Bohol, Philippines, were studied. Inorganic pigments were identified using SEM-EDS and XRD. Iron-based pigments were commonly found in the paintings, yielding dark yellow and brown colors. Zinc oxide was identified as the white pigment in the ceiling paintings of Dauis Church and Loay Church, while titanium dioxide was detected in the column painting in Baclayon Church. Organic analysis showed the presence of Pigment Yellow 3, a synthetic organic pigment. Paint layers, as well as other components of the samples such as grounds and metal leaves, were examined microscopically. It was observed that different types of grounds were applied on different types of surfaces. Moreover, organic pigments were found in combination with white extender materials. Microscopic examination also revealed alterations in the artworks, such as the overpaint layer found in the samples from Baclayon Church cornice and the imitation metal leaf layers applied over the original gilt surface in the Loay Church retablo.

• Journal of the Korean Society of Costume
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• v.20
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• pp.137-150
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• 1993

Sonia Delaunay was among the group of avant-garde artists drawn to Paris in the early part of this century who were exploring concepts of art that were felt to capture best the speed and me chanization of the modern world. She believed modernity-and her own attitude toward modern life-could be expressed through the primacy of color in art the dynamic inter-play of its dissonances and harmonies. The metap-hysical implications Delauny felt inherent in this idea made it applicable to all surfaces, and she was compelled to transform the world around her ac-cording to it. She set up a dialogue between fine art and everyday objects and accompplished the transition from representation work to her color theory through her investigation in embroidery and collage. This study is for Sonia Delaunay's field fo work which is close to fine and applied arts. To study Sonia Delaunay's work, I can find some points of her fashion designs. First, Simultaneous, which is to use collage tec-henics such as simultaneous and meterial to com-binate of variety meterial. Seound, Durability which is restoration of mor-dern fashion, Eventhough her work is 60 years old still it is foward to the furture. Imitation of textile which is devdloped by her, always looks new and fresh. Third, The elements of Folklore. Her elements of Russia, it appears on variety colors. Sepecially contemporary cloths has elements of folklore, we should use it and made it to suituble to contem-porary fashion of our country. For the furture, we need more study how to apply pictorial meterial of art into fashion design.

• Journal of dental hygiene science
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• v.15 no.5
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• pp.577-584
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• 2015

The purpose of this study was to evaluate the effect of metal chloride infiltration treatment on color and strength changes of the yttria-stabilized tetragonal zirconia polycrystals (Y-TZP). Fifty disc specimens were prepared with a Y-TZP powder (ZPEX; Tosoh, Japan). Thirty different metal chloride solutions containing 0.03~0.08 wt% chromium and 0.03~0.07 wt% terbium ions were prepared. Presintered Y-TZP specimens were soaked in metal chloride coloring liquids for 3 minutes and sintered in air at $1,450^{\circ}C$ for 2 hours. The color of the specimens was measured with spectrophotometer and color difference (${\Delta}E^*$) was obtained based on the CIE $L^*$, $a^*$, $b^*$ color coordinate values. To evaluate the effect of metal chloride infiltration strength changes, the biaxial flexural test was performed at crosshead speed 0.5 mm/min. Colors of the sintered Y-TZP showed the colors of Vita shade guide A1, A2 and A3 with the infiltration of chromium and terbium chloride solutions. Density of the sintered Y-TZP increased by the infiltration of chromium and terbium chloride solutions. Bi-axial flexural strength of the sintered Y-TZP did not show statistically significant differences by the infiltration of chromium and terbium chloride solutions (p>0.05). Chromium and terbium chloride did not affect the crystal phase of zirconia, and all specimens showed tetragonal phase. Accordingly, this study suggests that chromium and terbium chlorides can make colored zirconia while adding in a liquid form. The color of colored zirconia differ from that of vita shade guide but it can use all ceramic restoration as substructure in dental clinic.

• Journal of Conservation Science
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• v.33 no.6
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• pp.431-442
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• 2017

The purpose of this study is to reveal that coloring status and the degree of damage and the kinds of pigments used in large buddhist painting (Gwaebultaeng) of Tongdosa temple using a scientific analysis methods. It was observed that the physical damage patterns of the Gwaebultaeng were folding, lifting, fading, and peeling. Lead red, cinnabar and organic pigments were used as red pigments. Malachite and atacamite were used as green pigments, azulite and lazulite were blue pigments, lead white and talc were white pigment. It is estimated that overlapping organic pigments on the lead white were used as the yellow pigment and carbon was the black pigment. Through the analysis of the particle status of the pigments, it was confirmed that different types of raw materials were used for the green pigment, and the crystal form was easily distinguishable. Also, the dark blue color and the light blue color differed from each other depending on the size and shape of the raw material particles. Yellow and purple colors were organic pigments which did not have a graininess. The yellow and purple colors were organic pigments free from the graininess, and the pigments of dark red pigments was found to be mixed with the orange color pigments and carbon particles.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.19 no.1
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• pp.25-43
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• 2016

This research was completed to provide fundamental data regarding the guidelines to installing and managing utility facilities & structures in wetland protected area to advance the functions and sustainable use of ecology services by preserving the ecology within wetland protected area. There were 5 on-site researching areas that were used as the main subject with these areas chosen and considered from 21 inland wetlands that have been designated and are being managed from the Ministry of Environment and by their designated dates as a wetland protected area. The utility facilities in these wetland areas were categorized by their types and a detailed on-site investigation was proceeded with investigation items chosen whereas these facilities are working by their roles from their location, size, used materials, types, information contents and etc., The results showed that regarding informational structures, several locations of information boards were distanced from the main exploring routes which did not consider the visitor's eye level which had their readability dropped and by sunlight, time lapse and water penetration, many information boards were damaged or corrupted so that it was hard to confirm the information noticed or understanding an image. Insufficient observation and educational structures were installed that considered the ecological characteristics of wild animals and their living conditions. Regarding convenience facilities, there were parking lots that were installed on the fore-land and to decrease non-point solution sources, some parking lots needed to be located in protected lowlands while some facilities' shape and colors did not harmonize with their natural surroundings, creating a sense of awareness, which will need some more consideration. As for safety facilities, they were very insufficient compared to other facilities. This means that additional safety structures are needed so that related personnel can be aware of where a visitor is located when an accident occurs. Protectional facilities strongly needed new structures and a management system to cut off entrances and do surveillance so that visitors do not go into areas outside of the managed areas and bring damages to restricted locations. Research labs needed to expand the use of automatic weather systems and water gauge equipments to build fundamental data regarding floodgates that are intimated to the forming of wetlands. Sensor cameras and other types of monitoring systems are needed to monitor the majority types of animals living in the wetlands as well.

• The Journal of Korean Academy of Prosthodontics
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• v.44 no.5
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• pp.514-525
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• 2006

Statement of problem: The color change of final restoration resulting from resin cement is variable since the amount of the tooth is prepared is minimum. Purpose: The purpose of this study was to compare the color accuracy of try-in paste and their corresponding resin cements and the color stability of restoration intermediated resin cement according to two shades of three products(Rely-X. Variolink II. Choice). Material and method: Color was measured for porcelain disk sample without try-in paste, and porcelain disk sample intermediated by try-in paste and resin cement, then color differences were calculated. Results : 1. Color difference(${\Delta}E^*$) between try-in paste and resin cement showed the lowest value at Variolink II and increased in the order Choice and Rely-X statistically significant, and $?E^*$ of three resin cements was greater in A3 then A1. 2. The values of ${\Delta}L^*$ and ${\Delta}a^*$ between try-in paste and resin cement was in the increasing order of Variolink II, Choice and Rely-X. The ${\Delta}b^*$ value was increased in this order Choice, Rely-X and Variolink II in A1 on the other hand Variolink II, Rely-X and Choice in A3. 3. Color difference(${\Delta}E^*$) before and after resin cement showed the lowest value at Variolink II and increased in the order Rely-X and Choice. Conclusion : Above result revealed that the colors of try-in paste and resin cement were more or less accurate in the range of 0.35-1.95 of color difference which was unnoticeable with human eye, and Variolink II was superior to the other resin cements in color accuracy.

• Journal of the Korea Society of Computer and Information
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• v.26 no.1
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• pp.19-26
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• 2021

Cultural assets excavated in historical areas have their own characteristics based on the background of the times, and it can be seen that their patterns and characteristics change little by little according to the history and the flow of the spreading area. Cultural properties excavated in some areas represent the culture of the time and some maintain their intact appearance, but most of them are damaged/lost or divided into parts, and many experts are mobilized to research the composition and repair the damaged parts. The purpose of this research is to learn patterns and characteristics of the past through artificial intelligence neural networks for such restoration research, and to restore the lost parts of the excavated cultural assets based on Generative Adversarial Network(GAN)[1]. The research is a process in which the rest of the damaged/lost parts are restored based on some of the cultural assets excavated based on the GAN. To recover some parts of dammed of cultural asset, through training with the 2D image of a complete cultural asset. This research is focused on how much recovered not only damaged parts but also reproduce colors and materials. Finally, through adopted this trained neural network to real damaged cultural, confirmed area of recovered area and limitation.