• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.6
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• pp.407-417
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• 2017

This study examined the extent to which childcare methods of infant classroom childcare teachers who respect infant rights in the everyday teaching curriculum at day-care centers occurs. To achieve these objectives, a questionnaire survey was conducted on 210 infant classroom childcare teachers who were in charge of the day-care center classrooms located in [G] city of [J] province. The results of the research confirmed that first there were no statistically significant differences when verifying the extent to which childcare methods of infant classroom childcare teachers who respect infant rights in the everyday teaching curriculum at day-care centers according to the final education level, professional experience, age, and education major of the infant classroom childcare teacher. On the other hand, the results confirmed that when analyzing for arrival time for infant classroom childcare instruction at the day-care center and for the time spent taking the infant to and from the bathroom, the infant classroom childcare teachers who had graduated from 2 year colleges showed more respect for infant rights compared to that of infant classroom childcare teachers who had graduated from 4 year universities, and for the arrival time for infant classroom childcare instruction at the day-care center and nap times, the infant classroom childcare teachers who were above 50 years of age showed more respect for infant rights compared to that of infant classroom childcare teachers who were in their 30s and 40s. The results of the research confirmed that there were statistically significant differences for both the age and education major of the infant classroom childcare teachers. When examining each of the sub-factor, the age of the infant classroom childcare teachers, respect for the infant's opinion, respect for individuality, and for information provision, infant classroom childcare teachers older than 50 years of age were shown to exercise a higher level of respect for the infant according to the rule of prioritizing the infant compared to infant classroom childcare teachers in their 30s and 40s, and infant classroom childcare teachers who majored in infant education-related majors exercised a higher level of respect for the infant for respecting freedom and autonomy compared to that of infant classroom childcare teachers who majored in welfare and childcare-related fields. The results of the research confirmed a statistically significant static correlation between the two related variables. Therefore, this suggests that the more childcare methods of infant classroom childcare teachers who respect infant rights in the everyday teaching curriculum at day-care centers, the more childcare methods of infant classroom childcare teachers who respect infant rights occurred according to the rule of prioritizing the infant. These results can be used to establish both quantitatively and qualitatively an excellent and balanced respect for infant rights.

• The Journal of Art Theory & Practice
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• no.4
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• pp.57-76
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• 2006

From the late 1920s to the 1930s, Korea's fine art community focused on traditional viewpoints as their main topic. The traditional viewpoints were discussed mainly by Korean students studying in Japan, especially oil painters. Such discussions on tradition can be divided into two separate halves, namely the pre- and post-Sino-Japanese War (1937) periods. Before the war, the modernists among Korea's fine art community tried to gain a fuller understanding of contemporary Western modern art, namely, expressionism, futurism, surrealism, and so forth, on the basis of Orientalism, and borrow from these schools' in order to create their own works. Furthermore, proponents of Joseon's avant-garde fine arts and artists of the pro-fine art school triggered debate on the traditional viewpoints. After the Sino-Japanese War, these artists continued to embrace Western modern art on the basis of Orientalism. However, since Western modern fine art was regressing into Oriental fine art during this period, Korean artists did not need to research Western modern fine art, but sought to study Joseon's classics and create Joseon's own avant- garde fine art in a movement led by the Munjang group. This research reviews the traditional view espoused by the Munjang group, which represented the avant-garde fine art movement of the post-war period. Advocating Joseon's own current of avant-garde fine art through the Munjang literary magazine, Gil Jin - seop, Kim Yong-jun and others accepted the Japanese fine art community's methodology for the restoration of classicism, but refused Orientalism as an ideology, and attempted to renew their perception of Joseon tradition. The advocation of the restoration of classicism by Gil Jin-seop and Kim Yong-jun appears to be similar to that of the Yasuda Yojuro-style restoration of classicism. However, Gil Jin-seop and Kim Yong-jun did not seek their sources of classicism from the Three-Kingdoms and Unified Silla periods, which Japan had promoted as a symbol of unity among the Joseon people; instead they sought classicism from the Joseon fine art which the Japanese had criticized as a hotbed of decadence. It was the Joseon period that the Munjang group chose as classicism when Japan was upholding Fascism as a contemporary extremism, and when Hangeul (Korean writing system) was banned from schools. The group highly evaluated literature written in the style of women, especially women's writings on the royal court, as represented by Hanjungnok (A Story of Sorrowful Days). In the area of fine art, the group renewed the evaluation of not only literary paintings, but also of the authentic landscape paintings refused by, and the values of the Chusa school criticized as decadent by, the colonial bureaucratic artists, there by making great progress in promoting the traditional viewpoint. Kim Yong-jun embraced a painting philosophy based on the painting techniques of Sasaeng (sketching), because he paid keen attention to the tradition of literary paintings, authentic landscape paintings and genre paintings. The literary painting theory of the 20th century, which was highly developed, could naturally shed both the colonial historical viewpoint which regarded Joseon fine art as heteronomical, and the traditional viewpoint which regarded Joseon fine art as decadent. As such, the Munjang group was able to embrace the Joseon period as the source of classicism amid the prevalent colonial historical viewpoint, presumably as it had accumulated first-hand experience in appreciating curios of paintings and calligraphic works, instead of taking a logical approach. Kim Yong-jun, in his fine art theory, defined artistic forms as the expression of mind, and noted that such an artistic mind could be attained by the appreciation of nature and life. This is because, for the Munjang group, the experience of appreciating nature and life begins with the appreciation of curios of paintings and calligraphic works. Furthermore, for the members of the Munjang group, who were purists who valued artistic style, the concept of individuality presumably was an engine that protected them from falling into the then totalitarian world view represented by the Nishita philosophy. Such a 20th century literary painting theory espoused by the Munjang group concurred with the contemporary traditional viewpoint spearheaded by Oh Se-chang in the 1910s. This theory had a great influence on South and North Korea's fine art theories and circles through the Fine Art College of Seoul National University and Pyongyang Fine Art School in the wake of Korea's liberation. In this sense, the significance of the theory should be re-evaluated.

• Journal of Korean Ophthalmic Optics Society
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• v.18 no.4
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• pp.429-439
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• 2013

Purpose: This study was assessed to investigate the change of subjective and/or objective symptoms and the light transmissibility of lens caused by over-usage of daily disposable circle contact lenses (circle lens). Methods: Three daily disposable circle lenses made of etafilcon A, hilafilcon B, and nelfilcon A were applied on 20 normal eyes free from any eye diseases by when subjects complained any kind of discomfort. On the first and the last days of lens wearing, subjective discomfort, blinking rate, non-invasive break-up time, lens centration on corneal surface and visible light transmissibility of lens were recorded at every case and compared. Results: The circle lens wearers complained discomfort when they wore the circle lens more than 15 hours, in excess of 8 hours being the recommended wearing time and the most circle lens wearers quit the lens wearing when they wore more than 30 hours. On the last day of lens wearing, the representative subjective discomforts were stiffness, dryness and tiredness. When the subjects wore circle lens more than the recommended time, a tendency of increased blinking rate and decreased NIBUT was observed when it compared with the values right after lens wearing. On the last day of lens wearing, the lens centration was shown to be decentrated from the pupil center compared with the centration right after the wearing. These changes in lens centration and blinking rate were consistently shown in all cases of lens wearing however, the difference in the degree of subjective and/or objective change was present depending on lens materials and subjects. The visible light transmissibility of circle lens has largely been changed. Conclusions: From these results, it was thought that the decreased NIBUT induced dryness and stiffness and decreased visible light transmissibility caused more blinking when daily disposable circle lens was exceedingly used, which provoked lens decentration and subjective discomfort. However, the difference of subjective and/or objective change was largely varied in accordance with the lens material types and individuality and thus it may occur some unexpected problems by the individual base. Therefore, the education about the necessity to comply with the recommended wearing time and the problem will be essential.

• The Korean Journal of Nuclear Medicine Technology
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• v.16 no.2
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• pp.62-67
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• 2012

Purpose : At this time, the sentinel lymph node mapping using radioisotope and blue dye is preceded for breast cancer patient's sentinel lymph node biopsy. But all patients were applied the same protocol without consideration of physical specific character like the breast sizes and body mass indexes. The purpose of this study is search the optimized scan time in breast sentinel lymphangiography by observing how much the body mass index and breast size influence speed of lymphatic flow. Materials and Methods : The Object of this study was 100 breast cancer patients(Female, 100 persons, average age $50.34{\pm}10.26$ years old)at Severance hospital from October 2011 to December 2011. They were scanned breast sentinel lymphangiography before operation. This study was performed on Forte dual heads gamma camera (Philips Medical Systems, Nederland B.V.). All patients were intra-dermal injected $^{99m}Tc$-Phytate 18.5 MBq, 0.5 ml. For 80 patients, we have scanned without limitation of scan time until the lymphatic flow from the lymph node since injection. We measured how long the lymphatic flow time between departures from injects site and arrival to lymph node using stopwatch. After we calculated patient's Body mass Index and classified as 4 groups. And we measured patient's breast size and classified 3 groups. The modified breast lymphangiography that changing scan time according to comparison study's result was performed on 20 patients and was estimated. Results : The mean scan time as breast size was A group 2.48 minutes, B group 7.69 minutes, C group 10.43 minutes. The mean scan time as body mass index was under weight 1.35 minutes, normal weight 2.56 minutes, slightly over 5.62 minutes, over weighted 5.62 minutes. The success rate of modified breast lymphangiography was 85%. Conclusion : As the Body mass index became higher and breast size became bigger, the total scan time is increased. Based on the obtained information, we designed modified breast lymphangiography protocol. At the cases applying that protocol, most of sentinel lymph nodes were visualized as lymphatic pool. In conclusion, we found that the more success rate in modified protocol considering physical individuality than study carrying out in the same protocol.

• Journal of Intelligence and Information Systems
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• v.23 no.4
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• pp.57-76
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• 2017

Recently, consumer needs are diversifying as information technologies are evolving rapidly. A lot of IT devices such as smart phones and tablet PCs are launching following the trend of information technology. While IT devices focused on the technical advance and improvement a few years ago, the situation is changed now. There is no difference in functional aspects, so companies are trying to differentiate IT devices in terms of appearance design. Consumers also consider design as being a more important factor in the decision-making of smart phones. Smart phones have become a fashion items, revealing consumers' own characteristics and personality. As the design and appearance of the smartphone become important things, it is necessary to examine consumer values from the design and appearance of IT devices. Furthermore, it is crucial to clarify the mechanisms of consumers' design evaluation and develop the design evaluation model based on the mechanism. Since the influence of design gets continuously strong, various and many studies related to design were carried out. These studies can classify three main streams. The first stream focuses on the role of design from the perspective of marketing and communication. The second one is the studies to find out an effective and appealing design from the perspective of industrial design. The last one is to examine the consumer values created by a product design, which means consumers' perception or feeling when they look and feel it. These numerous studies somewhat have dealt with consumer values, but they do not include product attributes, or do not cover the whole process and mechanism from product attributes to consumer values. In this study, we try to develop the holistic design evaluation model based on consumer values based on three-step approach from product attributes, perceived attributes, to consumer values. Product attributes means the real and physical characteristics each smart phone has. They consist of bezel, length, width, thickness, weight and curvature. Perceived attributes are derived from consumers' perception on product attributes. We consider perceived size of device, perceived size of display, perceived thickness, perceived weight, perceived bezel (top - bottom / left - right side), perceived curvature of edge, perceived curvature of back side, gap of each part, perceived gloss and perceived screen ratio. They are factorized into six clusters named as 'Size,' 'Slimness,' 'No-Frame,' 'Roundness,' 'Screen Ratio,' and 'Looseness.' We conducted qualitative research to find out consumer values, which are categorized into two: look and feel values. We identified the values named as 'Silhouette,' 'Neatness,' 'Attractiveness,' 'Polishing,' 'Innovativeness,' 'Professionalism,' 'Intellectualness,' 'Individuality,' and 'Distinctiveness' in terms of look values. Also, we identifies 'Stability,' 'Comfortableness,' 'Grip,' 'Solidity,' 'Non-fragility,' and 'Smoothness' in terms of feel values. They are factorized into five key values: 'Sleek Value,' 'Professional Value,' 'Unique Value,' 'Comfortable Value,' and 'Solid Value.' Finally, we developed the holistic design evaluation model by analyzing each relationship from product attributes, perceived attributes, to consumer values. This study has several theoretical and practical contributions. First, we found consumer values in terms of design evaluation and implicit chain relationship from the objective and physical characteristics to the subjective and mental evaluation. That is, the model explains the mechanism of design evaluation in consumer minds. Second, we suggest a general design evaluation process from product attributes, perceived attributes to consumer values. It is an adaptable methodology not only smart phone but also other IT products. Practically, this model can support the decision-making when companies initiative new product development. It can help product designers focus on their capacities with limited resources. Moreover, if its model combined with machine learning collecting consumers' purchasing data, most preferred values, sales data, etc., it will be able to evolve intelligent design decision support system.

• Trans-
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• v.1
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• pp.117-139
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• 2016

Radio, the first broadcasting medium in history, is also the first mobile medium that meets the currently mobile ecology based on mobile communications network. As a result, it is easily approachable to consumers, can easily engage individual consumers, and its program contents have a huge appealing power to individual listeners, allowing it to form intimacy with audiences at the closest distance. However, the listening rating of radio has decreased greatly because it has experienced various changes by many other competitive media such as TV and internet and it has been influenced by relative constant hypothesis. Also, radio now faces a bigger competition due to the emergence of smartphone. In this circumstance, radio showed movements to evolve into a digital radio that presents improved sound, strengthened reception power, and increased number of channels, but it suddenly changed to DMB and portable multimedia DMB is having huge problems in its marketability due to smartphone. Yet, the listening rating of analogue radio broadcasting that remained unchanged was 13.99% in 2014, an increase by 47% from 2011, and the percentage of listeners under the age of 18 increased by 2.4 times from 2011 to 2014, which was a unique and interesting phenomenon. Accordingly, this paper compared the characteristics of internet and radio that have the traits of daily life, information, individuality, participatory, adventurousness, alternative media, expertise, and sound media. The paper then examined the listening method of radio, in which the direct groundwave antenna reception through a vehicular device is the most common form during the use of transportation means. Finally, it sought to investigate the future of radio based on the understanding of the increase in radio listening ratings, especially by comparing it to the characteristics of smart generation that focus on smartphone and the internet The study results demonstrated that entertainment and amusements are attempting at changes while they used to be obtained selectively by the smart generation from fragmentary information. In addition, radio is expected to become an influential medium in the future through its advantages of 'selected information' and reliability. However, considering such possibilities, radio needs to build the expertise and reliability of broadcasting contents much more at the same time as its digitalization, and it will be able to have its own competitiveness by focusing on various experiences and cultural exposures.

• Journal of Fashion Business
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• v.6 no.2
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• pp.1-16
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• 2002

The need for ready-to-wear clothing increases as the problem comes to arise from the fit of custommade clothing due to the characteristics of middle-aged women's somatotype. At this point of time, a study on the realities of production of custom-made clothing in middle-aged women's clothing business firms is of very greatly significance. Therefore, this study was intended to identify the problem and improvements through the survey research of production of custom-made clothing in middle-aged women's clothing business firms and further present the plan for development of custom-made clothing business. The questionnaire was framed based on the contents extracted from the preliminary questionnaire research for the pattern section chief of each business firm. Collected data were statistically processed using the SPSS 10.0 Windows program. As a result, the following findings were obtained: 1. The target age of the middle-aged women's clothing business firms ranged from more than 45 years to less than 50 years of age. Clothing business firms much made inroads into the ready-to-wear clothing market largely in the 1980s and the 1990s. Their active entry into the custom-made clothing market occurred in the 1970s and the 1980s. 2. In terms of the clothing production method of middle-aged women's clothing firms, some private boutique and designer brand clothing firms entered the clothing market with a focus on custom-made clothing in the beginning of its organization and introduced the production method of ready-to-wear clothing in accordance with changes in production methods and consumers' needs and wants. National brand clothing firms manufactured clothing with a focus on ready-to-wear clothing from the beginning of its organization, but at last they manufactured both partial custom-made and whole custom-made as the problem arose from ready-to-wear clothing. Seeing that their clothing production showed the ratio readyto-wear to custom-made clothing of 2.58:1. And it was found that the manufacture of ready-to-wear and custom-made clothing took into consideration the great difference in the pattern, size and design plan. The research of the clothing production process showed that whole custom-made and partial custommade were distinguished according to whether or not the sample was presented. 3. The ready-to-wear pattern of middle-aged women's clothing firms were used with a focus on the 'patternmaker-developed pattern' and company-developed pattern'. Most clothing businesses produced clothing in 4 to 5 basic sizes, which is found to be insufficient to complement the physical characteristics of middle-aged women with many specific somatotypes. In the pattern of custom-made clothing, the 'pattern of ready-to-wear were applied' or the 'customized pattern was developed'. Actual measurements were most used as the size of custom-made, and accordingly it is predicted that the level of satisfaction is higher with the fit of custom-made clothing than that of ready-to-wear. The selling place and the head office showed the similar percent as the place for measuring the size of custom-made clothing. Size measurers were mostly the shop master. And it was found that most clothing business firms had a problem when the measured size was applied to the pattern. Accordingly, it is necessary to provide education on size measurement for shop masters. 4. It was found that in the middle-aged women's clothing firms, the pattern correction of the length of sleeve, jacket and slacks occupied the highest percent. Accordingly, it is necessary to provide for the size system to complement the accurate somatotype characteristics of middle-aged women. 5. In custom-made clothing customer management, most firms engaged in customer somatotype management through size management. They provided customers with commodity information by informing them of the sales and event period and practiced human management for customers by maintaining the get-together and friendly relationship. 6. Middle-aged women's clothing businesses responded that it would be necessary to improve the fit of custom-made clothing and complement their pursuit for individuality as the plan to improve its quality. In consequence, it suggests that middle-aged women's clothing businesses should provide middle-aged women with the clothing of better-suited size and refined design. Middle-aged women's clothing businesses responded that it was the most urgent task to form the custom-made clothing manufacturing team as the plan to expand the custom-made clothing market, which is identified as their emphasis on the systematized production of custom-made clothing.

• Journal of Fashion Business
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• v.1 no.1
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• pp.71-83
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• 1997

The purpose of this study is to analyze the present fashion phenomenon by considering the types of street fashion, the center of avant-grade modern fashion, that shows the origination background and special feature concretely. The times was defined through the 1980's from World War II that street style originated, so the range of study was the 1990's when the street style was influenced by that of the past and was revived. The ways of study were to analyze the records of ideology, art and music connected with the street style from World War II to the present when it has risen. The summary of result is as follows. (1) In the 1940's, Zooties was the jet of desire suppressed by African-Americans that couldn't receive favors socially and economically and Hipsters pursued reformative bebop that made up of soft Jazz. In the 1950's, Modernists were running after Cool Jazz to the minimum. In the 1970's, Funk appered in the sexual desire and erotic strength, and was surfaced from Negro Getto. In the 1980's B-boys & Flygirls showed the street style by the scribble art of slum in the New York. As mentioned above, In the 1990's, Acid Jazz influenced by the Jazz of Negro has been the fashion added to the tradition of musical form that come from eclecticism of Jazz tended Neo-Jazz. (2) In the 1940's, Western style dreamed the country life because of rapid urbanization. In the 1950's, Beat obtained the feeling of liberation from the dissolute life and activity. In the 1960's, Psychedelics showed the freedom affected by the Pop-art and Op-art, and Hippies pursued the true individuality as 'love & peace' life style and the return to nature. In the 1990's, Grunge look influenced by the above has been fashion that shows the practical use of second-hand clothing or patchwork contrary to elitism. (3) In the 1940's, Caribbean style appered in the typical textile color with the center of West Indies. In the 1960's, Rude boys showed the magnificence and difficulty of Jamaica, and Rastafarians had a tendency to come back to the ancient civilization of America. In the 1970's, Two-tone was the simple clothing for harmonizing among human races. In the 1990's, Jamaica look influenced by the above has been the Lege fashion introduced to a high fashion, appearing in the special bright color, applique, unique hair style, and so on. (4) In the 1950's, Sufers pursued natural rhythm, getting out of everything. In the 1970' s, Skaters enjoyed the speed on the paved road. In the 1980's, Casuals emphasized the spirit of cooperation of young-things. In the 1990's, Casual look Influenced by the above has been the fashion that forms the activity, function and strong spirit of cooperation by pursuing comfortable life and sports in the tension of life and variety of modern society. (5) It was hard for Bikers to adjust themselves in society after the war. In the 1950's, Coffee bar cowboys were the reckless running boys in the leather jacket. In the 1960's, Rockers created the group originality as disobedient outsiders and Greasers imitated Rolling Stones. In the 1980's, Punks resisted the viewpoint of the old generation in offensive fashion. In the 1990's, Cyberpunk influenced by the above has pursued the classless structure, electronic music and metallic clothing that forebodes gloomily as the computer generation of ultra-modern science times. Accordingly, in understanding a complex modern fashion phenomenon, it was analyzed that the street styles of the past, from World War II to the 1980's, were reflected in that of the 1990's dividing into the five types in a word, namely Acid Jazz, Grunge look, Jamaica look, Casual look and Cyberpunk.

• Cartoon and Animation Studies
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• s.26
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• pp.79-108
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• 2012

This thesis is on the purpose of seeking for the possibility of a mechanism in interpreting, analyzing and criticizing cartoons which are applied to the concept of "the gaze" based on "the otherness of vision", which states a pluralistic visual world. It proves that cartoons are in line with other art works that are the subject to "lack and desire"; the gaze, greets reality and acts as an important criterion of analyzing and criticizing the trend in contemporary art, in which the cartoon expresses the gaze in harmony within its work of art. In this thesis, the artist, Kang Doh-ha structuralized ambiguous and difficult forms of art as he has cumulated experimental minds by working in an indie cartoon plane for a long period of time. Among his works of art, he identified the "invisible world" through his piece "Kubrik". Therefore, he represented: a metaphor and a metonymy, an ambiguously situational expression, an intentional and emotional error, the structure of individuality and integration, and finally tension beyond its meaning through use of 'the gaze' that is both the cause and the subject of a desire in the visible world which Lacan academized when he interpreted and analyzed "Kubrik". The concept of the gaze can be used in a variety of ways to display one another's presence in relation each character, revealing a spot of lack by staring back at readers or audiences and furthermore, to analyze and criticize the hidden side of the art piece by critics. The most important details are the artist's gaze, which is seen in the eyes of the analysis and also his or her criticism of the cartoon, which functions as a metaphoric screen in which the subject himself or herself betrays the law of desires thus enabling the violent and cruel reality to be masked and indulged in plays. This will serve as an element that will lead into an art as well as control the degradation to just a piece of enjoyment with the cartoon remaining only within the visual world.