• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.2
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• pp.337-348
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• 2002

Based upon literature survey and questionnaire survey, this research tries to develop four new Cleanroom Garment in semiconductor industrial environment. The designs emphasize to minimize workers disconmfort so that they can not only cover human body fully but also reduce dust as much as possible during work hour in clean room. The new designs characteristics and results from both function test and dust emission test are as follows: 1. In order to reduce dust-emission, we develop new designs with hood, kimono sleeve, and back zipper. The designs with hood face positive test results in term of motion suitability and dust-omission. The design with seam in front, in particular, is effective to control dust-emission. 2. For the purpose of reducing dust-emission, we also emphasize to minimize ease of dust-proof wear, with reference to previous research and clothing experiment. The experiment participants report that the new wears are not so comfortable as existing ones, but they accept the new wears positive as effective in reducing dust-emission owing to reduced ease of Cleanroom Garment and sleeves. 3. A1so to reduce dust-emission in inner wear, we put inner wear in both Cleanroom Garments and inner wear, resulting to remove discomfort of wearers when changing clothes and of tight waist due to inner-trousers. 4. We develop new designs with elastic bands in both waist through the side lines and with velcro only at the back side. To remove twist in front contributes to reduce emission arising out of friction, also to free the appearance minding woman workers from worrying about exposed stomach. The new designs need to be accepted as a valuable alternative of Cleanroom Garment, in that they are highly effective to reduce dust-emission, which is the most important factor in the wear, in spite of some drawbacks in terms of motion-suitability, ease and appearance as shown in wearing test.

• Journal of Korean Academy of Oral and Maxillofacial Radiology
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• v.10 no.1
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• pp.63-68
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• 1980

The purpose of this article is to re-examine the roentgenographic appearance of alveolar osseous in an effort to determine the value of the orthopantomogram in the diagnosis of periodontal disease. A total of 158 osseous lesions from 13 human dry skulls were studied. 14 Ultra-speed periapical films, 2 bitewing films and Kodak panoramic film are used to obtain radiographs of all defects. The bisecting technic was used, with a target-film distance of. 8 inches and exposure factors of 70 kVp, 10MA and 0.4 sec. at anterior teeth, 0.6 see at posterior teeth in exposure time. For orthopantomogram, Panoura Eight-C was used with a exposure factors of 90kVp, 10MA. and 15sec. exposure time. All films were developed in a light. tight darkroom at 68°F for 4½ minutes. Comparison of orthopantomogram and intraoral films on the view-box was carefully studied in relation to the types of osseous defect visually evident; Proximal intraosseous defects, Interproximal craters, Interproximal hemisepta, Furcal defects on multirooted teeth, and Facial or Lingual one-walled defects. The results obtained were as follows; 1. Proximal osseous defects throughout the dental arches and furcal defects on facial and lingual surfaces of multirooted teeth can be identified with a high degree of accuracy from their orthopantomographic appearances. 2. Lesions on facial or lingual surface of the alveolar arches are rather difficult to locate or recognize on the dental radiographs. 3. In determining whether the proximal and furcal lesions are located facially or lingually, Orthopantomogram is superior to the conventional film Orthopantomogram obtained with standardization of head in proper position revealed the complete visualization of alveolar bone without showing occlusal surface of molars and proximal superimposition of teeth. Thus, on the standardized orthopantomograms, The roentgenographic characteristics of each defect were determined.

• Journal of Information Technology Applications and Management
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• v.27 no.6
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• pp.1-14
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• 2020

Since the birth of animation, the United States has created many classic characters. For example, Mickey Mouse and Minnie, Tom and Jerry, Lion King, and Nemo, which are imaged with animal images, include Snow White, Bell, Mulan, and Aladdin. In addition, there are villain characters designed with strong personality and personality design, such as Snow White's stepmother Grimheel, Ursula, Bad Girl Crew El Radville, Scar, Captain Hook, and so on. These animation characters have been remembered for a long time with stories in people's minds, and have also brought laughter and emotion to people all over the world, which has brought a lot of business value to animation companies. Recently, the villain of American animation works is becoming more and more suited to the taste of the audience. The villain is not a symbolic image of the brutality we have seen before. They are not only visual images with rich and diverse personalities, but are also designed to suit the tastes of the public with a multifaceted inconsistency. They appear as ordinary people in our lives in works, or as powerful people who are not realistic. The villain characters designed in this way are real human miniatures appearing in the relationships in our lives, and they cannot judge good or bad only by their appearance. Through the study of villains in American animation, many villains in American animation were summed up, and villains could be classified into three types: brutal, violent, and sneaky. Based on this, it was possible to analyze the appearance and attire of the villain character in American animation, and to create a vivid and popular image of the villain, it was found that the character of the character should be emphasized when constructing the shape and costume of the villain character. In conclusion, the attractive formation of villain characters is an important part for successful animation. The production of vivid and long-lasting villain characters must begin with detailed settings such as personality, shape, and dress from the planning stage, which is not only the intention of the producer, but also a reflection of the aesthetic psychology that society should pay attention to today.

• Journal of IKEEE
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• v.13 no.2
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• pp.224-231
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• 2009

Unsharp masking is a popular image enhancement technique used to sharpen an image appearance in gray images. However, the conventional unsharp making techniques amplify the noise and easily cause overshoot artifacts. Moreover, the unsharp masking tends to introduce color distortion when it is applied to the each color component independently. To solve these problems, we propose a novel unsharp masking technique based on human visual system and vector projection. The proposed algorithm consists of two steps. First, the proposed algorithm controls the level of sharpening by exploiting the characteristics of the human visual system and contrast region. Then the vector projection is applied to remove the color distortion. Experiment results show that our proposed algorithm successfully produces sharpened images that are free of noise and color distortion commonly found in the conventional unsharp masking algorithms.

• Fashion & Textile Research Journal
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• v.9 no.1
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• pp.6-14
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• 2007

The purpose of this study was to delve into what type of expression mode of fashion design could suit the life style of digital nomads, as the appearance of nomadic life style was concurrent with people's modified way of thinking and sociocultural changes in today's digital society. It's basically meant to define the roles of fashion design, which was discussed as a way of improving the quality of life as a sort of 'culture,' and to suggest some of the right directions for fashion design in the future. The culture of today's digital era is marked by a pursuit of high mobility and high speed, and by nomadic disposition that is built on flexible thinking. The kind of design that lets people carry nomadic things with them and thereby improve their mobility can satisfy their needs for mobility, and body-friendly design that functions as a device of information in itself can meet their needs for mobility as well. The leading example of the latter is a wearable computer, and wearable scientific technology will be taken to another level, thanks to the advance in digital technology. In the future, that will be more accessible to people in general, and subminiature digital equipment will gain popularity in fashion industry as part of textiles and clothing or as an accessory. And specific kinds of design will be widespread, including variable design, multi-functional design and modular design. The first serves as a tool to protect the human body and to facilitate the adaptability of it to the given circumstances, and the second is characterized by a superb physical and psychological protectability. The third lets wearers bring design to completion at their own option, owing to an increase in the number of open-minded people and the development of interactive media. All these types of design could be called a wearer-friendly, human-oriented design that is specifically appropriate for the digital age. Wearers can actively be involved in design process as productive consumers, which is expected to help increase opener practices in fashion design sector.

• Korean Journal of Food Science and Technology
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• v.36 no.6
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• pp.924-929
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• 2004

Quality characteristics of functional bread added with different concentrations of potato juice and processed by basic formulation were investigated. Specific volume and baking loss of bread added with 20% potato juice (potato juice : water = 20 : 80) were the highest. Moisture and crude protein contents increased with increasing content of potato juice, while crude lipid content decreased. Lightness (L value) and yellowness (b value) of bread decreased with increasing content of potato juice, while redness (a value) increased. Texture measurement showed springiness, cohesiveness, and brittleness increased with increase of potato juice content. Highest sensory scores for color (p < 0.001), flavor, and taste (p < 0.05) were obtained from bread added with 20% potato juice, while appearance (p < 0.01) and texture (p < 0.01) of control bread were highest. Glycoalkaloid contentsof bread added with 50 and 100% potato juice were 2.85 and 5.79 mg%, respectively.

• Korean Journal of Human Ecology
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• v.8 no.2
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• pp.255-273
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• 1999

The purpose of this study was to examine the relationship between characteristics of personality and respondent characteristics of Kinetic Family Drawing for young children. The subjects were 170 children(110 boys and 60 girls). The personal interview contained Personality Characteristic Test for young children(In-Sub Song, 1993) and Kinetic Family Drawing Test(Burns and Kaufman, 1982). Results of the test were analyzed by t-test and ANOVA by SAS program. Results are followings. First, chileren's sex and the general tendency of personal characteristic showed significant difference in the emotional personality among 4 personality characteristics. Girls show more positive tendency than boys in moral, physical, appearance and feature which expressed personal feeling and emotion. Also, girls showed more positive tendency than boys in personal characteristic which showed physical ability. Second, Children's sex and individual characteristic in Kinetic Family Drawing respondent characteristic showed significant difference in own's arm length. Also, Using a rare of paper and chapter 1 of the power among the family showed significant difference in styles and symbols. The boys drew lengther arms compared with their height than the girls. The girls were less complicative, anxious, comparative and aggressive for their family. Third, As a result of the study about the relationship between 4 personal characteristics of children and individual's behavior in Kinetic Family Drawing respondent characteristic, the significant difference is showed in academic personality and social personality had higher completion of their father's feature and drew bigger feet. In socal personality, negative behavior than positive children. Fourth, As a result of the study about the relationship between 4 personal characteristics of children and individual's characteristic, the significant difference were found in academic personality, social personality, family personality and emotional personality. Children with negative academic personality drew longer arms than children with positive academic personality, social personality and family personality. Also, Children with negative emotional personality drew more siblings than children with positive emotional personality. Fifth, The academic personality and the social personality had significant difference in the relationship between 4 personal characteristics of children and dynamics. In social personality, normal children were more tendencious to look at the important person with their mother's direction than positive children. Sixth, In terms of the relationship between 4 personal characteristics of children and mode, academic personality and family personality showed significant difference. Children with negative academic personality used more edge of papers than children with positive academic personality and children with positive academic personality and children with negative family personality fold more papers than children with positive family personality. At last, there were no significant difference between 4 personal characteristics of children and styles as well as symbols.

• Journal of the Korean Society of Costume
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• v.22
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• pp.277-296
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• 1994

The progressive artists in Austria including Gustav Klimt organized the Viennes Se-cessionist in 1897 and they took an active part in the reformation of the reformation of the applied art by accepting the Jugendstil standing for the true art. The vocabularies which characterize this group are decoration literature and the power of symbol. Klimt especially expressed these characteristics and his strong person-ality. For he created his works with the sym-bolic and friendly splendor through his highly decorative talents by accepting the enwly changed artistic situation in those days and by getting out of the naturalistic trends he was regarded as an avant-garde artist as a major figure among the Symbolist artists who revived European culture which was destroyed through the World War I. The characteristics of klimt's works was to express the various human thoughts and minds through the decorativeness and the femininity and to use the decorative elements of old Greek and Egyptian culture and Japanese art as the motives of his works, His art is to be found between the naturalistic characteristics and formalization as well as between the in-dustrial arts and the fine arts. In his many portraits he preferred women by trying to express eroticism hidden behind the human inner world. For this he demonstrated the attractiveness and the characteristics of the models by designing the illusionary and unique clothes. In general his genius was to be seen through the costume which was decorated with metals and jewels and through the characteristics of the modern costume in which the previous solid silhouette was removed and the gentle and elegant me-dium color was used. by accepting the new artistic trends in the turn of the century by fully expressing those characteristics in his creative world and by taking his theme from the eroticism through the decorativeness and the expression of women Gustav Klimt's uniquely decorative ex-pression completely realized the aesthetics of Jugendstil symbol decoration and expression which displayed not only the external appear-ance but also the inner world. Especially he created a new appearance emphasizing the costume of the characters in his works. Also through the costume he expressed his artistic consciousness and psy-chology. He showed the characteristics of the reformed costume through the medium color the simple forms and gentle silhouette. Also he tried to symbolize the passionate inner pow-er by designing the small mosaics such as the geometrical patterns whirlpool patterns and the indecent meanings all over the costume. Klmt's this kinds of attemps shows a Stil Kostume as the external outcome of the inner spiritual activities like art and it establishes a basis for the theory of costume are which deals with the concepts of costume from the artistics points of view. This tradition playing an important role in the contemporary history of costume even has been still inherited up to today.

• The International Journal of Costume Culture
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• v.4 no.2
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• pp.138-145
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• 2001

This study aims to compare the beauty of costume in the Gothic with that of Renaissance periods. By analyzing the beauty of costume which reflects the ideal of the age, this study attempts to provide the insight which can predict the beauty of future costume The characteristics of Gothic costume is the from of the loose enveloping of the body, which can be accounted for from the influence the Christian religion, and the emphasis on the vertical line influenced by the steeple in the Gothic architecture expressing the enthusiasm of the religion. The emphasis on height in the Gothic cathedrals was reflected in the hennin, pointed shoes, and lengthy sleeves of Gothic dress. The beauty of Gothic costume lies in the from of slender, the emphases on the vertical line, the we of heraldry and parti-color, and pointed hat and shoe. The Renaissance architecture shows a broad horizontal appearance. There is the similarity between the Renaissance costume and Renaissance architecture. The beauty of Renaissance costume lies in the form of the exposing body, the exaggerated silhouette, the emphasis on the horizontal line, the use of ruff and slash in order to display the beauty of human body and the beauty of cubic. The ideal beauty of Gothic and Renaissance costume was influenced by the spirit the age and was in contrast.

• Mycobiology
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• v.42 no.1
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• pp.73-78
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• 2014

Cryptococcal infection is primarily caused by two species, Cryptococcus neoformans and C. gattii. Between the two species, C. neoformans var. grubii is the major causative agent of cryptococcosis in Asia. We investigated the molecular characteristics of 46 isolates of C. neoformans from patients with cryptococcosis between 2008 and 2012 in Seoul, Korea. All the isolates were determined to be C. neoformans var. grubii (serotype A), mating type $MAT{\alpha}$, and molecular type VNI by PCR-restriction fragment length polymorphism of the URA5 gene. Multilocus sequencing type (MLST) analysis using the International Society of Human and Animal Mycoses (ISHAM) consensus MLST scheme identified two sequence types (ST). Out of the 46 strains, 44 (95.7%) were identified as ST5, and remaining 2 were identified as ST31. Our study revealed that the clinical strains of C. neoformans in Korea are genetically homogeneous with the VNI/ST5 genotypes, and new appearance of VNI/ST31 genotype may serve as an important indicator of global genetic analysis.