• Title/Summary/Keyword: folding technique

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A Study of Formativeness Expressed in Korean-paper Fashion Design (한지 패션디자인에 표현된 조형성에 관한 연구)

  • 정연자
    • Journal of the Korea Fashion and Costume Design Association
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    • v.6 no.2
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    • pp.103-109
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    • 2004
  • This study attempted to investigate the plasticity of Korean paper expressed in contemporary fashion after general inquiry into Korean paper and examine the aesthetic beauty of fashion design using Korean paper. It used the literature review and empirical data analysis together. Korea-paper fashion design, the object of actual investigation, was for Korean-paper fashion from the 1990s to the present. As a result of analysis, the following findings were obtained: First, the natural, warm and soft texture seen as pureness in Korean paper enables us to elicit naturalness from liberalness. In addition, Korean paper not only has the tough characteristic of its material but also has the natural characteristic of abandoning its original nature and complying and adhering to its a given nature. Korean-paper fashion design, using this natural beauty and frank nature, bears the pure image of excluding decoration. Second, the overlapping of the surface on the surface expressed in Korean-paper fashion design forms one space with the sense of depth because of its transparency and expresses temporality through repetition. And the work of folding it with other materials and pasting them up with together demonstrates the effect of reflection because its original transparency. This effect is the specificity created in the collage technique using Korean paper and is the advantage of coming to obtain a wider freedom of expression. Korean-paper fashion design expresses transparency using this repetition and overlapping, Third, Korean paper has the simple rather than luxurious aspect. Owing to this nature, fashion design looks as if there were the greed inherent behind the work made from Korean paper though the complex technique applied to it. And it expresses the restraint of Korean paper using its original white color, the exclusion of decoration and simple design. Fourth, Korean paper is more likely to be changed by the outside influence because of formation. It has its peculiar aesthetic value and original artistry to an extent that it is regarded as one artistic work. The quality and texture of Korean paper diversely vary according to the artist's working process. Like this, Korean paper is easily fused into some object without exclusivity though it may be added to it. Korean-paper fashion design has the beauty of creation that is to create a new world because Korean paper is fused into another material due to its soft nature.

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Enhancement of the solubility of human tissue inhibitor of matrix metallocroteinase-2 (TIMP-2) in E. coli using a modified in vitro mutagenesis (새로운 유전자 재조합 방법을 이용한 대장균에서의 인간 tissue inhibitor of mtrix metalloproteinase-2 (TIMP-2) 유전자의 가용성 발현)

  • Kim, Jong-Uk;Choi, Dong-Soon;Joo, Hyun;Min, Churl-K.
    • KSBB Journal
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    • v.23 no.3
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    • pp.231-238
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    • 2008
  • The second family member of tissue inhibitors of matrix metalloproteinases, TIMP-2, is a 21kDa protein which inhibits matrix metalloproteinases 2 (MMP-2). Expression of mammalian proteins in E. coli often forms inclusion bodies that are made up of mis-folded or insoluble protein aggregates. The requirement for the formation of 6 disulfide bonds in the process of the TIMP-2 folding is likely to be incompatible with the reducing environment of E. coli. However, this incompatibility can be often overcome by introducing a mutagenesis that could lead to enhancement of the protein solubility. In this reason, we have attempted to express the soluble TIMP-2 in E. coli by applying a modified staggered extension process (StEP), one of the in vitro PCR-based recombinant mutagenesis methods, and error-prone PCR. C-terminally located CAT fusion protein with respect to mutated TIMP-2 proteins enables us to differentiate the soluble TIMP-2 from the insoluble in E. coli by virtue of chloramphenicol resistance. According to this scheme, E. coli harboring properly-folded CAT fused to TIMP-2 protein was selected, and some of the resulting colonies exhibited an enhanced, soluble expression of TIMP-2 compared to the wild type, implying (i) the StEP technique is successfully employed to enhance the proper folding thereby increasing the solubility of TIMP-2, and (ii) the CAT dependent screening may be a simple and effective method to differentiate the soluble protein expression in E. coli.

A Case Study of Tkatchev stretched Motion by Technical Feedback in Horizontal Bars (기술처치에 의한 철봉 Tkatchev stretched 동작의 사례연구)

  • Back, Jin-Ho;Son, Won-Il
    • Korean Journal of Applied Biomechanics
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    • v.18 no.4
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    • pp.77-87
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    • 2008
  • This study is to formulate strategy for subject who are selected as national team in horizontal bars event in apparatus gymnastics. For this, skill training program was applied to players for 8 weeks. Then it was analyzed by using 3D motion Analysis system to seek the difference between before and after using the program. There were decisive demerit element K's first try for Tkatchev stretched movement from low elevation and crooked body while elevating. Not only, the location of his center of mass is far and low and there was some concern in his landing due to bended his hip-joint, but also, it exposed weak point in retro-action followed technique. Thus, to overcome that weak point, the subject repeated practices on following; when preparing for Tkatchev stretched movement at downward for big spin, make sure extend shoulder angle faster, make sure Tap movement is short and concise using hip-joint angular while delaying Tap timing for folding the body, and moreover, while backlashing the body, used shoulder joint angle wide to pull up the body. As a result, the speed of vertical upward did rut increase when separation from the bar. However, height of elevation increased that the leg would rut hit the horizontal bar even straight up the hip-joint. Therefore, the movement itself provided magnificent motion and even helped decrease the demerits.

A Study on the Characteristic of Garden through Okhojeong Garden(玉壺亭) And Seokpajeong Garden(石坡亭) in the 19th Century Seoul (19세기 서울 옥호정(玉壺亭)과 석파정(石坡亭)을 통해 본 정원 특성)

  • Lee, Won-Ho;Kim, Dong-Hyun;Kim, Jae-Ung;Shin, Hyun-Sil
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.32 no.3
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    • pp.21-31
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    • 2014
  • This study aims to comparison of spatial composition that Okhojeong garden and Seokpajeong garden. Construct background and space structure in both of Okhojeong garden and Seokpajeong garden is analyzed. The results were as follows. First, Okhojeong garden and Seokpajeong garden of the nobles gardens in late Joseon dynasty. They had the advanced techniques of contemporary based on their political power and wealth, and therefore could built garden and enjoy the garden culture of the upper layer. Furthermore, composition of the Okhojeong garden can be assumed that it is related to construction of the Seokpajeong garden through analysis of the relationship between builders. Secondly, Space structure of Okhojeong garden and Seokpajeong garden is divided into pavilion unit of small gardens with living space as the center. Construction pavilion in each garden space imbues certain landscape theme. In addition, authorization of characteristics of a place in each area is attempted through boundary establishment and selective garden culture of varied seasonal landscape. Thirdly, In Seokpajeong garden, most of construction characteristics of Okhojeong garden are appeared. This indicates that Seokpajeong garden was affected by space-configuration-technique of Okhojeong garden such as acceptation or modification recreation. Fourth, In many cases, fanciers regarding floriculture are expanded to enthusiasts in late Joseon dynasty. In Okhojeong garden and Seokpajeong garden, herbaceous ornamental is considered to be precious and garden materials such as water tray, stone couch, oddly shaped stone, potted plant, artificial hill, wisteria trellis are diversified at the time.

A Study of Experimental Image Direction for Short Animation Movies -focusing in short film and (단편애니메이션의 실험적 영상연출 연구 -<탱고>와 <페스트 필름>을 중심으로)

  • Choi, Don-Ill
    • Cartoon and Animation Studies
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    • s.36
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    • pp.375-391
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    • 2014
  • Animation movie is a non-photorealistic animated art that consists of formative language forming a frame based on a story and cuts describing frames that form the cuts. Therefore, in expressing an image, artistic expression methods and devices for a formative space are should be provided in a frame while cuts have the images between frames faithfully. Short animation movie is produced by various image experiments with unique image expressions rather than narration for expressing subjective discourse of a writer. Therefore, image style that forms unique images and various image directions are important factors. This study compared the experimental image directions of and , both of which showed a production method of film manipulation. First, while uses pixilation that produces images obtained from live images through painting and many optical disclosure process on a cell mat, was made with diverse collage techniques such as tearing, cutting, pasting, and folding hundreds of scenes from action movies. Second, expresses non-causal relationship of characters by their repetitive behaviors and circulatory image structure through a fixed camera angle, resisting typical scene transition. On the other hand, has an advancing structure that progresses antagonistic relationship of characters through diverse camera angles and scene transition of unique images. Third, in terms of editing, uses a long-take short cut technique in which the whole image consists of one short cut, though it seems to be many scenes with the appearance of various characters. On the other hand, maximizes visual fun and commitment by image reconstruction with hundreds of various short cuts. That is, both works have common features of an experimental work that shows expansion of animated image expressions through film manipulation that is different form general animation productions. On top of that, delivers routine life of diverse human beings without clear narration through image of conceptualized spaces. expresses it in a new image space through image reconstruction with collage technique and speedy progress, setting a binary opposition structure.

Resorbability and histological reaction of bioabsorbable membranes (수종의 흡수성 차단막의 생체 분해도와 조직학적 반응)

  • Suk, Hun-Joo;Kwon, Suk-Hoon;Kim, Chang-Sung;Choi, Seong-Ho;Jeon, Dong-Won;Kim, Chong-Kwan
    • Journal of Periodontal and Implant Science
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    • v.32 no.4
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    • pp.781-800
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    • 2002
  • The major goals of periodontal therapy are the functional regeneration of periodontal supporting structures already destructed by periodontal disease. There have been many efforts to develop materials and therapeutic methods to promote periodontal wound healing. With the development of non-resorbable membrane, GTR has proved to be the representive technique of periodontal regeneration. However, due to various clinical problems of non-resorbable membrane, resorbable membrane was developed and it showed to be clinically effective. The newly developed Para-Dioxanone membrane has a characteristic of non-woven fabric structures which is different from the generally used membranes with structure of mesh form. In addition, Chitosan membrane has been developed to apply its adventage maximally in GTR. Although a number of different types of membranes had been clinically used, researches on absorption rate of membranes were inadequate and limited to subjective opinions. However, since long term period of resorption and space maintenance are required in implant or ridge augmentation, accurate verification of resorption rate is clinically important. In this study, we had implanted Resolut(R), Biomesh(R), Para-Dioxanone membrane and Chitosan membrane (Size : 4mm ${\times}$ 4mm) on dorsal side of Sprague Dawley rat, and sacrified them after 4 weeks, 8 weeks, 12 weeks respectively. Histologic observation was carried out, and the following results were obtained by calculating the objective resorption rate. 1. In case of Resolut(R), external resorption took place initially, followed by internal resorption. Surface area are 5.76${\pm}$2.37$mm^2$, 4.90${\pm}$l.06$mm^2$, 4.90${\pm}$0.98$mm^2$ at 4 weeks, 8 weeks, 12 weeks respectively, and invasion rate of connective tissue to membrane are 31.6${\pm}$4.5%, 52.8${\pm}$9.4%, 56.4${\pm}$5.1% respectively. 2. Biomesh(R) showed a pattern of folding, relatively slow resorption rate with small size of membrane. Surface area are 3.62${\pm}$0.82$mm^2$, 3.63${\pm}$0.76$mm^2$, 4.07${\pm}$1.14$mm^2$ at 4 weeks, 8 weeks, 12 weeks respectively, and invasion rate of connective tissue to membrane are 26.1${\pm}$5.8%, 30.9${\pm}$3.4%, 29.2${\pm}$3.6%, respectively. 3. Para-Dioxanone membrane was surrounded by fibrous conncetive tissue externally, and resorption took place internally and externally. Surface area are 5.96${\pm}$1.05$mm^2$, 4.77${\pm}$10.76$mm^2$, 3.86${\pm}$0.84$mm^2$ at 4 weeks, 8 weeks, 12 weeks respectively, and invasion rate of connective tissue to membrane are 30.7${\pm}$5.1%, 53.3${\pm}$4.4%, 69.5${\pm}$3.1%, respectively. 4. Each fiber of Chitosan membrane was surrounded by connective tissue and showed external resorption pattern. It showed little invasion of inflammatory cells and excellent biocompatability. The resorption rate was relatively slow. Surface area are 6.01${\pm}$2.01$mm^2$, 5.49${\pm}$1.3$mm^2$, 5.06${\pm}$1.38$mm^2$ at 4 weeks, 8 weeks, 12 weeks respectively, and invasion rate of connective tissue to membrane are 31.3${\pm}$3.6%, 38.4${\pm}$3.80%, 39.7${\pm}$5.6%, respectively. Consequently, Para-Dioxanone membrane and Chitosan membrane are found to be clinically effective for their excellent tissue reaction and biocompatibility. Futhermore, the advantage of bone regenerating ability as well as the relatively long resorption period of Chitosan membrane, it might be widely used in implant or ridge augmentation.

The Restoration and Conservation of Indigo Paper in the Late Goryeo Dynasty: Focusing on Transcription of Saddharmapundarika Sutra(The Lotus Sutra) in Silver on Indigo Paper, Volume 7 (고려말 사경의 감지(紺紙) 재현과 수리 - 이화여자대학교 소장 감지은니묘법연화경을 중심으로 -)

  • Lee, Sanghyun
    • Korean Journal of Heritage: History & Science
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    • v.54 no.1
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    • pp.52-69
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    • 2021
  • The transcriptions of Buddhist sutra in the Goryeo Dynasty are more elaborate and splendid than those of any other period and occupy a very important position in Korean bibliography. Among them, the transcriptions made on indigo paper show decorative features that represent the dignity and quality that nobles would have preferred. Particularly, during the Goryeo Dynasty, a large number of transcriptions were made on indigo paper, often in hand-scrolled and folded forms. If flexibility was not guaranteed, the hand-scrolled form caused inconvenience and damage when handling the transcription because of the structural limitations of the material that is rolled up and opened. It was possible to overcome these shortcomings by changing from the hand-scrolled to the folded form to obtain convenience and structural stability. The folded form of the transcription utilizes the same principle as the folding screen, so it is a structure that can be folded and unfolded, and it is made by connecting parts at regularly spaced intervals. No matter how small the transcription is, if it is made of thin paper, it is difficult to handle it and to maintain its shape and structure. For this reason, the folded transcription was usually made of thick paper to support the structure, and the cover was made thicker than the inner part to protect the contents. In other words, the forded form was generally manufactured to suit the characteristics of maintaining strength by making the paper thick. Because a large amount of indigo paper was needed to make this type of transcription, it is assumed that there were craftsmen who were in charge only of dark dyeing the papers. Usually, paper dyeing requires much more dye than silk dyeing, and dyeing dozens of times would be required to obtain the deep indigo color of the base of the transcription of Buddhist sutra in the Goryeo Dynasty. Unfortunately, there is no record of the Goryeo Dynasty's indigo blue paper manufacturing technique, and the craftsmen who made indigo paper no longer remain, so no one knows the exact method of making indigo paper. Recently, Hanji artisans, natural dyers, and conservators attempted to restore the Goryeo Dynasty's indigo paper, but the texture and deep colors found in the relics could not be reproduced. This study introduces the process of restoring indigo paper in the Goryeo Dynasty through collaboration between dyeing artisans, Hanji artisans, and conservators for conservation of the transcription of Buddhist sutra in the late Goryeo dynasty, yielding a suggested method of making indigo paper.

The Existence and Design Intention of Jeong Seon's True-View Landscape Painting <Cheongdamdo(淸潭圖)> (겸재 정선(謙齋 鄭敾) <청담도(淸潭圖)>의 실재(實在)와 작의(作意))

  • SONG Sukho;JO Jangbin ;SIM Wookyung
    • Korean Journal of Heritage: History & Science
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    • v.56 no.2
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    • pp.172-203
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    • 2023
  • <Cheongdamdo>(true-view landscape painting) was identified in this study to be a folding screen painting painted by Jeong Seon(a.k.a. Gyeomjae, 1676~1759) in the 32nd year of King Yeongjo(1756) while exploring the Cheongdam area located in Mt. Bukhansan near Seoul. Cheongdam Byeol-eop(Korean villa), consisting of Waunru Pavilion and Nongwolru Pavilion, was a cultural and artistic base at that time, where Nakron(Confucian political party) education took place and the Baegak Poetry Society met. <Cheongdamdo> is a painting that recalls a period of autumn rainfall in 1756 when Jeong Seon arrived in the Cheongdam valley with his disciple Kim Hee-sung(a.k.a. Bulyeomjae, 1723~1769) and met Hong Sang-han(1701~1769). It focuses on the valley flowing from Insubong peak to the village entrance. The title has a dual meaning, emphasizing "Cheongdam", a landscape feature that originated from the name of the area, while also referring to the whole scenery of the Cheongdam area. The technique of drastically brushing down(刷擦) wet pimajoon(hanging linen), the expression of soft horizontal points(米點), and the use of fine brush strokes reveal Jeong Seon's mature age. In particular, considering the contrast between the rock peak and the earthy mountain and symmetry of the numbers, the attempt to harmonize yin and yang sees it regarded as a unique Jingyeong painting(眞境術) that Jeong Seon, who was proficient in 『The Book of Changes』, presented at the final stage of his excursion. 「Cheongdamdongbugi」(Personal Anthology) of Eo Yu-bong(1673~1744) was referenced when Jeong Seon sought to understand and express the true scenery of Cheongdam and the physical properties of the main landscape features in the villa garden. The characteristics of this garden, which Jeong Seon clearly differentiated from the field, suppressed the view of water with transformed and exaggerated rocks(水口막이), elaborately creating a rain forest to cover the villa(裨補林), and adding new elements to help other landscape objects function. In addition, two trees were tilted to effectively close the garden like a gate, and an artificial mountain belt(造山帶), the boundary between the outer garden and the inner garden, was built solidly like a long fence connecting an interior azure dragon(內靑龍) and interior white tiger(內白虎). This is the Bibo-Yeomseung painting(裨補厭勝術) that Jeong Seon used to turn the poor location of the Cheongdam Byeol-eop into an auspicious site(明堂). It is interpreted as being devised to be a pungsu(feng shui) trick, and considered an iconographic embodiment of ideal traditional landscape architecture that was difficult to achieve in reality but which was possible through painting.

The Chemical Composition and Working Techniques of the Glass Beads Excavated in the Jisan-dong No. 73-74 Ancient Tombs, Goryeong (고령 지산동 73~74호분 출토 유리구슬의 제작 기법과 화학 조성)

  • Kim Nayoung;Kim Euna;Kim Gyuho
    • Conservation Science in Museum
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    • v.31
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    • pp.21-37
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    • 2024
  • This paper sought to garner an understanding of Daegaya glass culture by observing the micro-structure and analyzing the chemical composition of 43 glass beads excavated from the No.73 and 74 ancient tombs in Jisan-dong, Goryeong, which are estimated to have a central age of 5th century CE. The visible characteristics and micro-structure of these artifacts were observed with a optical microscope and an scanning electron microscope, while their chemical composition was analyzed with an energy-dispersing spectrometer attached to the scanning electron microscope. As a result, the glass beads of Jisan-dong, Goryeong were identified to have been formed using various methods such as drawing, casting, and folding techniques, with the majority molded by the drawing technique. In terms of chemical composition, 32.6% were in the potash glass group and 67.4% in the soda glass group, with the latter divided into various fluxes such as high alumina glass, netron glass, and plant ash glass. Compared to Baekje's cultural region in the same age, the composition of these ancient glass artifacts demonstrates a high share of the potash glass group. This shows that, despite the shift from the potash glass group to the soda glass group in ancient Korean glass culture, glass composition differs from region to region or depending on the cultural sphere of influence. In the soda glass group, high-alumina glass comprised 23.3%, natron glass 43.0%, and plant ash glass was 1.2%. Among them, the main type of Korean soda glass is high-alumina glass, as natron glass and plant ash glass are known to have appeared later, but the results of scientific analysis of the glass beads excavated in Jisan-dong can be expected to provide important clues about the inflow and transformation of ancient glass on the Korean Peninsula. In the No. 73, 74, and 74-1 ancient tombs, which were found to have been built in chronological order by the excavation survey, the glass beads showed only slight variations depending on their production period. Nonetheless, the chemical composition of glass is deemed to have a close correlation to color.