• Fashion & Textile Research Journal
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• v.14 no.5
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• pp.766-777
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• 2012

The 13 genre paintings by Junkeun Kim in the book "Korean Games(by Stewart Culin 1858~1929)" were used to study the late $19^{th}$ century's basic costumes and Games style in Korea. The people who appear in the paintings are 26 adult males, 2 minor males, 2 adult females and 3 kisaengs. Typical men wore 'Jeogori' which had various colors and white linings with a reached hip line, and knotted with a 'go-rum' on the right side. They also wore, white colored 'Baji' with colorful sash that were knot below knee or ankle together with 'Hang-jun' or 'Daenim'. They wore 'Beoseon'. Some men wore 'Po' whose colors were blue, green, indigo, white. The general women wore 'Jeogori' in deep green and light pink, indigo, green, red, and they matched with colors for 'Kit' and, 'Go-rum', 'Kut-dong' and its 'Go-rum' was short and narrow. It was so fit and short with narrow sleeve. It had 'Dunggun-kit'(round head collar) with white 'Dong-jung' and so it fit at neck. They wore 'Chi-ma' whose color was red, light green, or light indigo. It contrasted with 'Jeogori'. The width of 'Chi-ma' was big enough. Then white inner slacks came out under the skirt. Traditional Korean games can be classified according to age and gender. Then the games can be further classified into three categories : men's games, women's games, and games for all. The games for adult are an archery practice, hunting, shovel work with a karae, making a bow, drawing Jongkung-chart, Korean chess, playing paduk, and the Korean card game. A swing is a game for women. Games for both men and women are dice play, and domino game. Games for both adult and minor males are sledge, and tightrope walking. Through genre paintings in the $19^{th}$ century, I reached a conclusion that basic costumes are similar to 'Hanbok' at the present time and the method of wearing them has not changed much. It appears that the originality of traditional costumes has been maintained.

• Archives of design research
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• v.13 no.4
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• pp.233-242
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• 2000

The traditional image of hydraulic excavator started to change in two ways since 1990. First, post-heavy equipment's visual image was new waves to traditional image of heavy, strong, and wild. They are the negative aspect that excavators have. Another movement of getting rid of its negative image can be found in late-heavy equipment, which was intended to adapt traditional and positive, but off negative images. In 1990s, the design trend is moving from warm/hard to warm/soft, and KOBELCO can be exceptional example that went even further, gone up to cool-soft image. KOBELCO specially aimed 'post- excavator image' strategy, which has been successful. Image of cabin as a human space changed little bit further than outside image. Each company tried to differentiate the design of cabin focusing on its safety. Following paragraphs show specific trend of image change in form, colour, texture, and the composition. Major visual image change in form tries to follow the image of cars and home appliances which are showing the movement from tough and hard image to soft one. Structural change on local image shows the movement from angular edge to edgeless and the movement of cabin's pillar C placed to back of the equipment with gentle inclination. All of these movements are the result of effort to improve traditional excavator's negative image, that top structure is assembled separately, to positive ones. Today's tendency about its color becomes important to apply two different colour styles. Each style has brightness and tone comparison. As an enormous power convey system, it was in common that its brightness comparison was useful because of the alarm of its damage possibility. However, as its colour control and its design have been emphasized gradually, the tone comparison takes a part in an important role, too. As an example, there is an occasion that these comparisons are compromised simultaneously. In the respect of its image creation, its texture treatments make the tendency of being the same as passenger cars. It is caused from its development of the manufacture techniques of from the fabrication method in small business to the press method in big firm. Further, it is also because of its improvement of painting & coating skills. It may prohibit the reflection effect from solar rays. In the point of view of its visual images, it is recognized the prominent tendency that its composition has been gradually decreased. Lots of windows and the frames tends dark-colour as a whole. It is more preferred to have one colour image, but except KOBELCO and HITACHI. As well, there is another high-tendency to improve its standard treatments, especially for its corner and texture treatments.

• Journal of the Mineralogical Society of Korea
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• v.21 no.3
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• pp.271-281
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• 2008

The "Noerog", a traditional green mineral pigment occurs as veins or cavity-filings in the basaltic pyroclastic rocks of Quaternary Epoch in Mt. Noeseong in Janggi-myeon, Pohang. The "Noerog stone" mainly consists of celadonite with minor chlorite/smectite, mordenite and opal. Celadonite grains are several hundreds to several tens of ${\mu}m$ in size. The particle sizes under several tens of fm are likely to coagulate to aggregates. The coloring rate increases rapidly with decreasing particle size under $71{\mu}m$. The hiding power is maximum in the particle sizes of $0.2\sim0.3{\mu}m$. The resistance properties of the Noerog to both the light and the bacteria are absolutely superior to ordinary chemical pigments. The transparency of the Noerog is maximum in the nano-powders under 200 nm. Examination of the color of the Noerog pigment which has been prepared by traditional technique for "dancheong" shows that the best coloring effect is found in the particle sizes under $32{\mu}m$ and that the painting was not successful for the Noerog of particle size over $32{\mu}m$.

• Archives of design research
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• v.20 no.1 s.69
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• pp.287-296
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• 2007

Since the beginning of the 20th century, the art has developed its artistic qualities in exercising an influence on the creative elements of the fashion. In this sense, the fashion is one of many methods of which given time's arts, their compositions, and elements can be expressed, recognized, and experienced. In this study, artworks of Roy Lichtenstein, who took the leading, active role of pop artist have been studied. The purpose of this study is to present practical application of the art and aesthetic and artistic application of clothing by studying and applying the factors of Roy's paintings. The conclusion through actual designing is as follows: First, Lichtenstein interested with the characteristic of print media. He combined the image of commercial technique with the traditional painting by using Ben-day dots. Second, he reduces his form and color to the simplest possible elements. Third, by applying Lichtenstein's works to fashion design, we can make creative and aesthetic fashion works. Fourth, his Ben-day dots and stripe was applied to variant dots and stripe pattern in the fashion design. Roy Lichtenstein is expected to continually affect modern fashion and also fashion of the future. Furthermore Lichtenstein's works are expected to be further studied under various methods and ways, and those aesthetic characteristics would be developed and expressed more in fashion design under various perspectives.

• Conservation Science in Museum
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• v.8
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• pp.13-24
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• 2007

The Department of Fine Art requested the conservation science team to examine the technique of painting with gold powder on the gold painted porcelains, which were made in Korea and China, among the items possessed by National Museum of Korea in order to publish it in the research paper collection of the Exchange Exhibition of Korea and China Porcelains. Among the items possessed by National Museum of Korea, such items were included as, an item of Koryo inlaid celadon (No. Gaesung 106), called the celadon with inlaid work (Korean name: Cheongjasanggam suhawonmun geumchaepyunho), which was decorated in the layer of glaze using gold power, an items of tea cup called "Temmku da wan" (No. Bongwan 10011), which was manufactured in the time of Song dynasty of Chinese history, an items of gold cup called "Siyuchohwamun hwageumwan" (No. Bongwan 2027), and an items of a porcelain called "Siyuwan" (No. Duksoo 3322). As the result of the examination, the stabilizing method of baking the decorated porcelains is similar, after they are painted with the pigment mixed with fine gold powder and the glaze solvent, but the treatment method of the colors is a little different among them. In other words, there is a big difference between them, for example, in the case of Koryo celadon, because the gold coloring was painted carefully one by one on the splendid decorations of inlaid works, while in the case of Chinese porcelains, butterflies or arabesque designs are decorated on the layer of the glaze in the porcelains of no decoration, using the stencil skill. According to the result of this examination, the part of the porcelain, whose layer of gold color was peeled off, could be restored, and as the result of the restoration, it was confirmed how beautiful and splendid the gold porcelain had been at the time of being manufactured.

• Journal of the Korea Computer Graphics Society
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• v.20 no.2
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• pp.1-11
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• 2014

The quality of 2D-to-3D conversion depends on the accuracy of the assigned depth to scene objects. Manual depth painting for given objects is labor intensive as each frame is painted. Specifically, a human is one of the most challenging objects for a high-quality conversion, as a human body is an articulated figure and has many degrees of freedom (DOF). In addition, various styles of clothes, accessories, and hair create a very complex silhouette around the 2D human object. We propose an efficient method to estimate visually pleasing depths of a human at every frame in a monocular video. First, a 3D template model is matched to a person in a monocular video with a small number of specified user correspondences. Our pose estimation with sequential joint angular constraints reproduces a various range of human motions (i.e., spine bending) by allowing the utilization of a fully skinned 3D model with a large number of joints and DOFs. The initial depth of the 2D object in the video is assigned from the matched results, and then propagated toward areas where the depth is missing to produce a complete depth map. For the effective handling of the complex silhouettes and appearances, we introduce a partial depth propagation method based on color segmentation to ensure the detail of the results. We compared the result and depth maps painted by experienced artists. The comparison shows that our method produces viable depth maps of humans in monocular videos efficiently.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.359-369
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• 2018

When expressing Christ visually in the medieval Christian painting, the most important issue was how to express the divinity as Son of God and the humanity as attribute of human in a balanced manner. The purpose of the study is to examine both formative and symbolic characters of divinity and humanity on the Christ's body and clothes in the Medieval paintings, Transfiguration of Christ. In the paintings, Christ's body is definite evidence to show both his divinity and humanity. In connection with the body, the clothes reveal Christ's humanity and divinity as well. Through this research, the study found that the divinity and humanity on the Christ's clothes in the Transfiguration of Christ were as follows: Blue, gold, purple, white and bleaching effect are the emblem of divinity, and red and color contrast effect with a high chroma stand for humanity of Christ. In addition, unstructured wrinkles of clothes reveal Christ's divinity, on the other hand, structured drapery shows his humanity through emphasizing volume of the body. Finally, divinity of Christ is shown on the gold clavus and red clavus intensify his humanity. Medieval Christian paintings are products planned out to express Christ's dual nature. There is a significance that the paintings represent the profession of painter's faith and the dogma of the era. Furthermore, they suggest the importance of the image to deliver the abstract concepts by visualizing.

• Journal of the Korean Society of Costume
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• v.55 no.1 s.91
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• pp.25-42
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• 2005

Costume is a formative art expressed by active human unlike the field of other living formativeness, and an expression of social actions based on a style of culture in a period. Therefore, costume has a deep connection with a mode of living and is recognized as a 'culture for living', and is more characteristic culture than all metaphysical cultures including architecture, craft, painting, and sculpture. Therefore, it expresses wearer's status or social standing, and furthermore, ideas and values of the times with aesthetic features in their form, color, materials, and pattern, so it is expressed as a mirror reflecting the phases of the times as. Korean costume had been dressed until the period of the Joseon Dynasty without a great change and started to be simplified in a simple style on the grounds of inconvenience in behaviors with the opening of an interchange of Western culture in the civilized period. And, this movement had been continued and Korean costume had been applied as an everyday dress under the name of 'Reformed Korean Costume'. Since the middle phase of 1980s, it aroused many people's interests with the introduction of designs focused on activity and convenience. In 1990's, many people had taken a growing interest in Korean costume with development of various designs keeping pace with the internationalization period and Korean Costume had been revitalized under the name of 'The Modernized Korean Costume'. And, since the 21st century, the advanced communication and full-scaled import of Western fashion have made the introduction of many fashion information in the world into Korea, affected greatly the fashion market, led consumers' sensitivity on a trend to be increased. Therefore, a design accepting a trend 'The Modernized Korean Costume' with fashions has risen. Second, this study is an attempt to suggest a revitalization method of domestic casual Korean costume brands by developing and suggesting competitive and highly value-added products with connection of practicality, variety, and highly sensitive fashion styles. For theoretical study, domestic and foreign literatures, academic journals, professional monthly magazines, and newspapers were examined. And, a process of change and features of the Korean fashion since the civilization period, and concept, features and images of casual Korean costume were analyzed, On the basis of analyzing image, features, and consumers' preference of the modernized Korean costume, a design development plan was established and 10 suits of costume were designed and made.

• Journal of Korean Philosophical Society
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• v.145
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• pp.381-407
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• 2018

Gilles Deleuze presents his distinctive logic of sensation in "Francis Bacon: The Logic of Sensation" with his own approach to Bacon's paintings. What matters here is the sensation of 'haptic' that is 'one possibility of the eyes' but different from optical perception. The concept of 'haptic' has been translated into Korean variously, and Gilles Deleuze adopted this concept from Austrian art historian, Alois Riegl. Alois Riegl had used the concept of 'haptic' to mean proximate view (Nahsicht in German) as in seeing Egyptian bas-relief. Gilles Deleuze was in succession to Alois Riegl's way of thinking and used the concept of 'haptic' to discuss Bacon's paintings. By the way, Alois Riegl had adopted this concept anyway to read Egyptian bas-reliefs, but Gilles Deleuze applies this concept to paintings. Actually, this concept in Gilles Deleuze's theory of painting has more meanings than Alois Riegl'. That is to say, when we intend to understand "The Logic of Sensation" as a new logic of sensation to be represented more than just a discussion about Bacon's paintings, we would say that key word is the concept of 'haptic' being symbolic of Bacon's paintings. Yet, what kind of sensation is the 'haptic'? And, what is Deleuze's theory of sensation? I want to interpret "Francis Bacon: The Logic of Sensation" as a work being developed through his own theory of sensation, and further more I should like to draw special attention to the sensation of 'haptic' in order to make his theory of sensation with admirable clarity.

• Economic and Environmental Geology
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• v.52 no.1
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• pp.91-106
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• 2019

The Donghachong tomb from Royal Tombs at Neungsanri is composed of 15 sides including the floor, and the most highly proportion of rock, two-mica granite, are used on the 7 sides (46.6%). Also, augen gneiss consist with another 3 sides (20.0%), and each of the remaining 3 sides (6.7%) are made up of granodiorite, gneissous granite and leucocratic granite, all of which were used to comprise the tabural stone. Meanwhile, the two floors of the burial chamber and the front chamber, are made up of brick-shaped amphibole schist (13.3%). These rocks are occurred in the Buyeo area and their provenance sites are located at the side of Guemgang river. The Memorial Stone for Liu Renyuen in Tang China is a typical augen gneiss showing distinct schistosity and augen texture. This rock has the same petrographic characteristics with the rocks used to build the Donghachong tomb, Sanjikri dolmens and Setapri pagoda in Buyeo. This augen gneiss is distributed from the Jeungsanri in Buyeo to Dukjiri in Gongju as a large scaled rock body, and where currently are the quarries to produce stone aggregates, garden and landscape rocks. Thus, it is highly probable that the site around Buyeo was the source area of augen gneisses since the Bronze Age. However, while augen gneiss is easier to form into shapes it should have disadvantages when it comes to painting on the tomb wall because of their petrographic characteristics of low strength and dark color. Therefore, it is very intriguing to investigate which transportation method the people of Baekje chose with consideration of the distance and terrain, efficiency and convenience.