• Journal of KIISE:Computing Practices and Letters
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• v.16 no.3
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• pp.366-370
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• 2010

This paper presents an automatic Oriental ink-rendering technique that recreates the artistic style of Oriental paintings from a single image. In Oriental paintings are characterized by strokes with various thickness and disordered dispersion. In this study, a stroke drawing method was developed based on the canny edge detector and radial curvature that are suitable for lines with varied thickness even along a single stroke. A dispersion-shading method was likewise developed by applying a set of iterated dual-filtering, and intensity exaggeration methods. The dispersion-shading method is designed to increase the local shade details, to decrease the global shade. Unlike the existing watercolor-rendering and abstraction system the proposed dispersion-shading method achieves disordered shade details rather than simplification.

• Korean Institute of Interior Design Journal
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• v.25 no.3
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• pp.40-50
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• 2016

The purpose of this study is to investigate the mise-en-$sc{\acute{e}}ne$ characteristics to direct an emotional atmosphere. It also analyzed whether these characteristics are reflected in how the work of Peter Zumthor. First, a theoretical consideration base on the distinction between montage and mise-en-$sc{\acute{e}}ne$, the research on space directing techniques in film. In particular, research on the mise-en-$sc{\acute{e}}ne$ around the technique of deep focus, long-take, charade. It also examines the mise-en-$sc{\acute{e}}ne$ tendencies that appear in the painting art, philosophy and psychology to deepen understanding. It should understand the mechanism by going to complete the meaning. Based on this, in terms of mise-en-$sc{\acute{e}}ne$ to analyze the space directing of Peter Zumthor. And the features of mise-en-$sc{\acute{e}}ne$ has its significance in having a look at whether there is any correlation in the 'Atmospheres' directing of Zumthor. As a result, the mise-en-$sc{\acute{e}}ne$ is active, multi-layered, ambiguous, uncertain, becoming and enables an open interpretation in terms of audience.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.3
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• pp.82-87
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• 2023

<Deep Sea> is an 3D animated film that stands out for its exceptional special effects and distinctive artistic style. The film employs a multitude of dazzling and vibrant ink particles, creating a strong sense of three-dimensionality and weightlessness, while simultaneously portraying a dreamlike and elegant representation of a deep sea ink painting. Furthermore, through the utilization of fragmented stream of consciousness narrative technique, the film establishes a unique artistic effect infused with a Chinese atmosphere. This paper by analyzing the unique particle ink art style and color and stream of consciousness narrative methods in film, this paper discusses the innovative art style generated by traditional ink art style combined with three-dimensional technology, and the integration of traditional ink art ideas and artistic conception in animated films. The objective is to cultivate a new ink art style and prove the importance of traditional cultural expression in animated films, while providing new perspectives for the future application of traditional art in animation.

• International journal of advanced smart convergence
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• v.13 no.2
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• pp.136-141
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• 2024

Chang'an (Chinese: 长安三万里), also known as 30,000 Miles from Chang'an, is a 2023 Chinese 3D animated historical drama film directed by Xie Junwei and Zou Jing.This thesis aims to explore the visual expression of traditional culture in the 3D animated film Chang'an as an example to reveal the reasons for the success of this type of film. The study analyses in detail the design of the character models and costumes, as well as the use of the traditional landscape painting technique of 'white space' in the composition of the screen from the visual aspect. Through the analysis of character design and screen composition, the thesis concludes that the success of Chang'an lies in its elaborate visual design and clever use of traditional culture, which makes it a 3D animation film with both artistic and commercial values. Finally, the thesis concludes that the production of a successful 3D animation film needs to combine the visual elements of 3D animation with traditional culture in order to win audience recognition and achieve commercial success.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.6
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• pp.66-72
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• 2010

Seoul City planned "Dreamland" to be in harmony with the huge woods and park. It is located in the life zone in the northern region of Seoul as part of an extensive park development plan that the municipal government has promoted. The space configuration technique of the aesthetics of "Empty" rather than "Full" gives the potentiality to cope with the uncertain changes in the city. Furthermore, the traditional element of the mountain landscape of Seoul was introduced and appropriated as the axis of the landscape for landscape configuration. In that configuration, the images of tree, sky, wind, water and soil are elegantly unfolded like a landscape painting. The purpose was to create a dominant landmark in the city landscape with the figures of Korean mountains and hills which were differentiated from architectural landmarks in the western cities by making nature, which was excluded from the urbanization plans up to now, an important subject for consideration. As a result, this study madethe space in a park including existing yards and streets in a city have the traditional hierarchy by applying the facility arrangement technique and elements extracted from Korean space types and traditional landscape concepts. Moreover, the North Seoul Dream Forest was designed by pursuing diversity and potentiality in the experience of space using a large open field in a city.

• The Research Journal of the Costume Culture
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• v.16 no.3
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• pp.475-487
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• 2008

The purposes of this study are to find the values of playful design by exploring what forms of playful expressions and characteristics appear in the haute couture collections that feature "high culture" other than street fashion or popular fashion and to help expand the scope to include newer and more creative design ideas. Concerning theoretical background, the study reviewed the literature to understand the concept of playfulness and see what types of playfulness there are and how it is expressed. Based on the results, the study examined the features of playfulness by analyzing the works of haute couture collections which since 2000. The results can be summarized as follows: First, designers in the haute couture collections constructed their own identities by expressing their instinctive desire for playfulness through graffiti such as cartoons or scribbles and delivering direct and specific messages or ambiguous and symbolic meanings through such things. Second, the haute couture collections revealed the human body in a transformed or distorted shape through deformation of clothes or accessories presented brand-new dressing styles by breaking away from the past ways of dressing; and expressed playfulness intentionally with distorted materials. Third, is the "depaysement" technique. This collage technique selects all possible objects going beyond inartistic routine matters or boundaries of which we are aware and changes their positions and purposes of use to express the playfulness of "harmony in disharmony." Fourth, the haute couture collections created a feeling of playfulness by featuring parodies of retro elements, a slice of popular culture, or a variety of painting styles. Finally, like using dolls or toys as accessories or making direct use of parts of clothes, combinations between attributes given by the images of those accessories themselves and creativities found in haute couture dresses are just as fun of authoritarian bias in favor of prestigiousness.

• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.712-722
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• 2011

The purpose of this study is to examine the types and characteristics of decorative techniques applied to the Korean traditional skirt of contemporary style. For the purpose, this researcher selected 167 pieces of Korean traditional skirts which were shown in relevant monthly magazines published between 2001 and 2010. Then, the researcher classified the types of decorative techniques found in those selected pieces and analyzed the characteristics of decoration technique for each area of the pieces and the characteristics of patterns used in relation to those techniques. The Korean traditional skirt, otherwise called 'Hanbok chima', was classified into two types, single and composite, in accordance with which technique of decoration was used to it. The single type was characterized by so many embroideries, while the composite type, a combination of two decorative techniques, seonchigi and jatmulim. In the Korean traditional skirt, decorative techniques were applied to the knotting and entire of the skirt. Patterns used to decorate the Korean traditional skirt were usually in form of embroidery, gold or silver foil or painting. Out of the patterns, those which were embroidered or painted were shaped flowers, while those which were plated with gold or silver are shaped bosangdangchomun and flowers. There were other decorative techniques than mentioned above, for example, applying two or more different colors to the hem of the skirt, attaching pads to the knotting of the skirt and padding a decorative cloth on the front center of the skirt.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.3
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• pp.151-166
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• 2007

The purpose of this study was to examine the Russian abstract artist Kazimir Malevich's works during the period of absolutism and thereupon, suggest some knitwear designs practical, decorative and creative. For this purpose, the researcher reviewed domestic and foreign literature, dissertations and academic journals to determine the Russian abstract fine art and the significance of Kazimir Malevich's works in the history of arts and thereupon, examined Malevich's works or the champions of absolutism in terms of their geometric formative elements or forms and colors. The results of this study can be summarized as follows; First, paintings may be important motives for the contemporary costume designs, while being a major driving power for development of some original designs depending on artists' personal thoughts and expression techniques. Second, this study is deemed to suggest creative and original techniques and motive applications for fashion designs by introducing the elements of Kazimir Malevich's paintings into costume designs, and provide for an opportunity to suggest new values by combining arts and fashion. Third, the knit jacquard technique, one of the major techniques for the knit design works using Kazimir Malevich's absolutism works, is considered a tubular jacquard featuring the deepest sense of thickness. The intarsia technique is preferred in the recent trend for light fabric because it features clear background patterns and allows for thinner fabric. Lastly, it is hoped that this study will serve to expand the domain of expression by means of an art marketing or meeting between arts and fashion in our contemporary industries.

• Cross-Cultural Studies
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• v.45
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• pp.33-54
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• 2016

This study presents a comparative analysis of the calligrammic poetic dictions shown in the poems of the French poets Guillaume Apollinaire and Paul Eluard and in those of the Korean poet Lee Sang. They were adventurers in the avant-garde movement who used experimental techniques that led to futurism, expressionism, cubism, dadaism, and surrealism. They applied a typographic technique that combined pictorial arrangements of fonts, shapes of compositions and between lines, letters of the alphabet, mathematical symbols, and graphical elements, such as circles or lines, to make up a poem that also looked like a painting. Their works, valued as visual lyric poems, break up language and combine anti-poems. They rejected traditional poetic dictions or grammar, but developed a paratactic poem that freely uses letters and symbols. Their calligrammic poetic dictions arouse dynamic images like space extension. Lee Sang's calligrams seem like abstract paintings that apply geometric symbols like those used in technical drawings. As a result, crossing the boundaries between language and pictorial art by using experimental materials and techniques, their poems deconstruct the creative standards of rational and traditional poetic dictions, creating an adventurous, expressive technique. Their calligrammic, avant-garde poems introduced a new spirit of art into both French and Korean modern poetic literature.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.46-65
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• 2014

This study, under the title of Daeungbojeon Hall of Bulyeongsa Temple, Uljin and the architectural technique of the architect, aimed to make a comprehensive speculation on Daeungbojeon Hall of Bulyeongsa Temple whose accurate construction year was confirmed in 1725. While existing studies dealt with it separately between construction and Buddhist art history this study attempted to sort out it in one perspective by means of comparison with compatible objects in the area. The results are as follows. 1st, by means of comparison of wall painting of Daeungbojeon Hall of Bulyeongsa Temple and other wall paintings of Gyeongsang-do Province, it was estimated to be created before and after 1725, the founding year of the building. 2nd, the stylobate of Daeungbojeon Hall is the only and unique case that Guibu was supported by the bottom. Such stylobate was estimated to be built in the early period of Goryeo stylobate of PostLintel Construction which was more simplified than that of the traditional unified Silla period considering specific techniques. Lastly, by means of comparison of the architectural technique of Daeungbojeon Hall of Bulyeongsa Temple with other temples in Gyeongsang-do Province, the characteristics of the building were found. In particular, the same architectural technique was confirmed by direct comparison of style with Yeongsanjeon Hall of Tongdosa Temple in 1714 which was constructed by the same architect.