• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.20-37
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• 2017

It is called the "Painted lead glaze pottery" that is painted green, brown, yellow over white or light yellow glazed base among glazed pottery in the Northern Qi Dynasty. Even though the white glazed pot painted green with three ears and the yellow glazed jar painted green with long neck is found in the Fan-cui Tomb in Honghetun Village, Anyang City, Henan Province in 1971, these potteries were not focused in academic circles. While the white glazed pottery found with them was thought as the earliest evidence of the white porcelain that the date is clear, it has constantly been discussed so far. In this paper, focused on the painted lead glaze pottery, the materials from tombs and kiln sites are organized, and based on them, the decoration feature and production technique is analyzed. The emergence time of this pottery is checked by the date of tombs and the social value of this pottery is considered by the position of the buried person. The painted lead glaze pottery of the Northern Qi Dynasty has independent character such as porcelain clay, twice firing burning and painting technique over glazed base. This character emerged from several glazed potteries in the Northern Wei Dynasty and it continued to the Northern Qi Dynasty. At last, the white painted lead glazed pottery appeared. The painted lead glaze pottery was formed by the combination of a shape of the ceramic in Southern China and painting technique after the Northern Wei Dynasty in Northern China.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.4-23
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• 2018

Seo Byeong-o (徐丙五, 1862-1936) played a central role in the formation of the Daegu artistic community-which advocated artistic styles combining poetry, calligraphy and painting-during the Japanese colonial period, when the introduction of the Western concept of 'art' led to the adoption of Japanese and Western styles of painting in Korea. Seo first entered the world of calligraphy and painting after meeting Lee Ha-eung (李昰應, 1820-1898) in 1879, but his career as a scholar-artist only began in earnest after Korea was annexed by Japan in 1910. Seo's oeuvre can be broadly divided into three periods. In his initial period of learning, from 1879 to 1897, his artistic activity was largely confined to copying works from Chinese painting albums and painting works in the "Four Gentlemen" genre, influenced by the work of Lee Ha-eung, in his spare time. This may have been because Seo's principal aim at this time was to further his career as a government official. His subsequent period of development, which lasted from 1898 until 1920, saw him play a leading social role in such areas as the patriotic enlightenment movement until 1910, after which he reoriented his life to become a scholar-artist. During this period, Seo explored new styles based on the orchid paintings of Min Yeong-ik (閔泳翊, 1860-1914), whom he met during his second trip to Shanghai, and on the bamboo paintings of Chinese artist Pu Hua (蒲華, 1830-1911). At the same time, he painted in various genres including landscapes, flowers, and gimyeong jeolji (器皿折枝; still life with vessels and flowers). In his final mature period, from 1921 to 1936, Seo divided his time between Daegu and Seoul, becoming a highly active calligrapher and painter in Korea's modern art community. By this time his unique personal style, characterized by broad brush strokes and the use of abundant ink in orchid and bamboo paintings, was fully formed. Records on, and extant works from, Seo's early period are particularly rare, thus confining knowledge of his artistic activities and painting style largely to the realm of speculation. In this respect, eleven recently revealed nanjukseok (蘭竹石圖; orchid, bamboo and rock) paintings, produced by Seo in 1889, provide important clues about the origins and standards of his early-period painting style. This study uses a comparative analysis to confirm that Seo's orchid paintings show the influence of the early gunran (群蘭圖; orchid) and seongnan (石蘭圖; rock and orchid) paintings produced by Lee Ha-eung before his arrest by Qing troops in July 1882. Seo's bamboo paintings appear to show both that he adopted the style of Zheng Xie (鄭燮, 1693-1765) of the Yangzhou School (揚州畵派), a style widely known in Seoul from the late eighteenth century onward, and of Heo Ryeon (許鍊, 1809-1892), a student of Joseon artist Kim Jeong-hui (金正喜,1786-1856), and that he attempted to apply a modified version of Lee Ha-eung's seongnan painting technique. It was not possible to find other works by Seo evincing a direct relationship with the curious rocks depicted in his 1889 paintings, but I contend that they show the influence of both the late-nineteenth-century-Qing rock painter Zhou Tang (周棠, 1806-1876) and the curious rock paintings of the middle-class Joseon artist Jeong Hak-gyo (丁學敎, 1832-1914). In conclusion, this study asserts that, for his 1889 nanjukseok paintings, Seo Byeong-o adopted the styles of contemporary painters such as Heo Ryeon and Jeong Hak-gyo, whom he met during his early period at the Unhyeongung through his connection with its occupant, Lee Ha-eung, and those of artists such as Zheng Xie and Zhou Tang, whose works he was able to directly observe in Korea.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.1
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• pp.53-68
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• 2015

The purpose of this study is to analyze check pattern of nail art from 2011 to 2013. The results of this study are as follows; 1) Check pattern of nail art is total 257 patterns, and there are 84 argyle, 29 tartan, 24 harlequin, 24 over, 23 window-pane, 15 stitcheds, 13 hound tooth, 10 block, 10 madras, 8 gingham, 8 gradation, 7 shepherd, and 2 tattersall check patterns. Through this result, in nail art, the relatively simple patterns such as a vertical pattern, a horizontal pattern, and cross or overlap diagonal line are used more than elaborate and complex check patterns of a fibrous tissue from a weaving process. 2) In check pattern of nail art, N-affiliated color and R-affiliated color are remarkably well-used, because of the effects of argyle, tartan, window-pane, harlequin, stitched, over, and hound tooth check patterns used the most during the past three years. Especially, most tartan, harlequin, over, and hound tooth check patterns use their own special colors such as R-affiliated colors and N-affiliated colors as it is, and argyle, window-pane, stitched, and over check patterns use well by arranging N-affiliated colors and R-affiliated colors. 3) The most used expressive technique is hand painting to express check pattern in nail art, because new products related to UV gel are well launched. These materials can draw fine line that is hard to express by existing polish easily and simply, and not only have set quickly hard, so procedure time is very short, so it is compatible to draw check pattern personally, but also it is well covered, so check pattern is more clearly expressed.

• Journal of the Korea Computer Graphics Society
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• v.7 no.4
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• pp.9-18
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• 2001

There was much previous work to represent effects which are used in the real world paintings. In case of Western paintings like as watercolor or oil painting, largely conversion techniques from photo images were researched. However, in case of Oriental paintings, the development of a conversion technique is not easy because a few strokes are used to represent objects. Then, model-based approach was studied to draw Oriental paintings. In this paper, a model-based approach for Oriental paintings is described. In our model, to represent the diffusion effects, LEM(Local Equilibrium Model) is proposed. LEM is a method to calculate the movement of water and ink effectively. Also, a layer model for paper is proposed to discriminate wet or dry state. And a brush model to draw strokes is described.

• The Journal of the Korea Contents Association
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• v.20 no.2
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• pp.572-580
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• 2020

Recently released AI speakers show a pattern of interacting with the user by mainly with voice and simultaneously displaying simple and formal visual feedback through status LED light. This is due to the limitations of the product characteristics of the speaker, which makes it difficult to interact variously, and even such visual feedback is not standardized for each product, and thus does not give a consistent user experience. By maximizing the visual elements that can be expressed through color and abstract movement to assist voice feedback, the product can provide the user with an extended experience that includes not only functional satisfaction but also emotional satisfaction. In this study, after analyzing the interaction methods of the existing AI speakers, we examined the theory of color communication in order to expand the visual feedback effect, and examined the meaning and expression technique of Color Field Painting, an art genre that maximizes the emotional experience by using only color. Through this, the AI speaker's visual communication function was expanded by designing a way to feedback communication status using LED light.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.47 no.2
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• pp.70-79
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• 2015

This study was carried out to analyze deterioration characteristics of color-pigments painted Hanji to preserve and restore the cultural properties. On the traditional painting technique, glue was used with pigments in various ways for painting, but it eventually caused the deterioration of paintings. Thus, five colors were selected and analyzed for this study for investigating their characteristics of deteriration. Three kinds of glues (Wugyo, Nokgyo, and Togyo) and two kinds of pigments (Chinese and Gilsang) were painted on the Hanji for the accelerated aging test. And then color fastness of pigments and tensile strength of painted Hanji were measured for the estimation of deterioration degree. The results of SEM-EDS showed that Chinese pigments including blue, yellow, green, and red were composed of inorganic substances but the brown was organic substance. Gilsang pigments were composed mainly of Si and Ti ions. Color fastness of the Gilsang pigment blue, yellow, green, and brown were better than those of Chinese. Chinese pigment brown with organic substance showed the worst color fastness. Generally, Chinese pigments painted Hanji showed higher tensile strength than Gilsang in the accelerated aging test. Hanji treated with Chinese pigment and Nokgyo (antler glue) blends and Gilsang pigment and Togyo (rabbit pelt glue) blends showed higher tensile strength than the others. And Andong Hanji showed the highest tensile strength.

• Journal of Korea Multimedia Society
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• v.11 no.4
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• pp.554-565
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• 2008

The French neo-impressionist painter, George Seurat, introduced pointillism under the theory that the individual pigments of colors on the canvas are reconstructed on the human retina. Pointillism is a painting technique in which many small brush strokes are combined to form a picture in the canvas. When such a painting is seen from a far, the individual stroke color are unnoticeable and they are seen as intermixed colors. This is called juxtaposed color mixture. In this paper, we present a painterly rendering method for generating the pointillism images. For expressing countless separate dots which shown in the pointillism works, we propose a hierarchical points structure using Wang The method. Also a user defined palette is constructed based on the usage that Neo-Impressionist painter works on his palette. Lastly, based on this, a probability algorithm will be introduced, which divides the colors in the image(sampled by hierarchical point structure) into juxtaposed colors. A hierarchical points set which undergone juxtaposed color division algorithm is converted into brush strokes.

• (The)Study of the Eastern Classic
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• no.36
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• pp.105-134
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• 2009

Since long ago, "The Discourse of Confucius" has been considered as one of the must-read classical literatures in the world of art. The term Huì-shì-$h{\grave{o}}u-s{\grave{u}}$ (繪事後素) in this literature is not only known by the painter but is also known to anyone who discuss about pictures. However, there is a great diversity of interpretation between its meaning of "drawing a picture is done when its basis is ready" or "drawing a picture is done later when completed with white color". The method of drawing does not change much with time. Scholars usually consider professional paintings conventional and don't understand well the white characteristics of the painting technique. In any case, it is basic to deal with the basis before drawing but completing the picture, finishing with white is not so common. Paintings from ancient times are not so different from today's silk pictures. Because Huì-shì-$h{\grave{o}}u-s{\grave{u}}$(繪事後素) fostered the attainments being the basis of life and the artistic sense, it remains as the aesthetics to many artists. The interpretation of Huì-shì-$h{\grave{o}}u-s{\grave{u}}$(繪事後素) is related to the change with time in 'The theory of courtesy(禮論)' but this study focused purely from the artistic point of view.

• 제어로봇시스템학회:학술대회논문집
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• 1993.10b
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• pp.160-163
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• 1993

In this paper, design of an automatic grinding robot system for car brazing bead is introduced. Car roof and side panels are joined using brazing, and then the brazing bead is processed so that the bead is invisible after painting. Up to now the grinding process is accomplished manually. The difficulties in automation of the grinding process are induced by variation of position and shape of the bead and non-uniformity of the grinding area due to surface deformation. For each car, the grinding area including the brazing bead is sensed and then modeled using a 2-D optical sensor system. Using these model data, the position and the direction of discrete points on the car, body surface are obtained to produce grinding path for a 6 degrees of freedom grinding robot. During the process, it is necessary to sense the reaction forces continuously to prepare for the unexpected circumstances. In addition, to meet the line cycle time it is necessary to reduce the required time in sensing, signal processing, modeling, path planning and data transfer by utilizing real-time communication of the information. The key technique in the communication and integration of the complex information is obtaining in-field reliability. This automatic grinding robot system may be regarded as a jump in the intelligent robot processing technique.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.2
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• pp.103-113
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• 2003

This paper analyses the geometric aspect of Sonia Delaunay′s works on the basis of design elements and principles. Geometric pattern is one of the distinct features of early 20th century avant-garde works. The significance of its pattern and colour comes from the fact that it has not only influenced the contemporary fine art but also offered the basic principle of modern costume design. In 1925 she was designing clothes which could be worn today without appearing old-fashioned. She foresaw the future trends in fashion and interior decoration. One might claim she belongs to the avant-garde even today and no less astonishing a phenomenon than she was in 1925. Sonia Delaunay′s art was one of the first expressions of abstract painting and her "simultaneous contrasts" are among the earliest example of the aesthetic. In Delaunay′s geometric abstraction it is found that the technique of "simultaneous contrasts" is exploited almost without exception. Colour as well as Collage was the favourite technique Delnaunay used in creating a distinct simultaneity. Many "inobjective" paintings as she herself called unite the rigour of simple geometric forms with an inner life and poetry which emanate from the richness of the colour, the musicality of the rhythm, the vibrant breadth of the execution.