• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.1137-1142
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• 2006

3D 가상공간을 협업에 효과적으로 이용하기 위해서는 3D 가상공간에서 빠르고 쉽게 의사를 표현할 수 있는 기술이 필요하다. 본 연구에서는 이런 효과적인 의사표현 방법으로 Sketch 기법을 제안한다. Sketch 기법은 간단한 2D 선들의 표현을 통해 매우 빠르게 아이디어를 표현 할 수 있으며, 의도에 따라 부분을 강조하거나 가감할 수 있기 때문에 좀 더 직관적으로 의도를 전달 할 수 있다. 그래서 이러한 Sketch 를 공간상에서 손쉽게 3D 모델의 표면이나 공간 위에 입력하고, 입력한 Sketch 를 3D 가상공간과 연동하여 보여 줌으로써 쉽게 3D 가상공간 안에 Sketch 로 의견을 표현 할 수 있게 하는 Sketch 기반 인터페이스를 연구 하였다. Sketch 기법을 3D 가상공간에 적용하기 위해서는 3D 가상공간 상에서 2D Sketch 를 입력하기 위한 방법과 입력 시 발생할 수 있는 위상차의 문제를 해결해야 한다. 이 연구에서는 2D Sketch 입력을 대상 3D 객체 중심에서 Sketch할 부분의 Sketch plain 을 선택 및 생성함으로써 입력하는 방법을 연구하였으며, 입력 시 발생하는 위상차는 View-point 및 View-Plain 의 이동 등을 통해 해결점을 찾고자 하였다. 그리고 추후 연구를 통해 Sketch 를 Annotation 으로 활용, 협업에서 필요로 하는 Sketch Annotation 으로 개발하고자 한다.

• Conservation Science in Museum
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• v.29
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• pp.1-32
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• 2023

The Paintings of a 60^th Wedding Anniversary Ceremony Created by an Unknown Painter (Deoksu 6375), housed by the National Museum of Korea, is a five-panel painting book depicting scenes from a wedding ceremony. Hoehonrye is a type of repeated wedding ceremony to commemorate a couple's 60th wedding anniversary with congratulations from the community. The paintings of the book record five scenes from the wedding: jeoninrye, a ceremony where the groom brings a wooden wild goose to the bride's house; gyoberye, the groom and the bride bowing to each other; heosurye, pouring liquor to toast to the couple's longevity; jeopbin, offering tea to guests; and a banquet to celebrates the couple's 60th wedding anniversary. The book describes figures, buildings and a variety of items in detail with delicate brushstrokes. The techniques were examined using microscopy, infrared, and X-ray irradiation and hyperspectral imaging analysis. The invisible parts were examined to identify the rough sketch and distinguish pigments and dyes used for each color. The components of the pigments were determined by X-ray fluorescence analysis, while the dyes were identified by UV-vis spectrometry. Microscope observation revealed that the fabric used for the paintings was raw silk thread with almost no fiber twist, and plain silk fabric. Hyperspectral imaging analysis, X-ray fluorescence analysis, and UV-vis spectrometry confirmed that the white pigment was white lead and the black was chinese ink. The red pigments were using red clay, cinnabar, and a mixture of cinnabar and minium. Brown was made using red clay and organic dyes, and yellow using gamboge. Green was identified as indigo, malachite, chrome green, barium sulfide, and blue as azurite, smalt, and indigo. The purple dye was estimated as a mixture of indigo and cochineal, and gold parts were used gold powder. Hyperspectral images were distinguished parts damaged and conservation treatment area.