• Journal of Conservation Science
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• v.35 no.3
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• pp.237-244
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• 2019

In this study, we applied terahertz imaging technology to three Korean modern oil paintings ('Boy,' 'Girl,' and 'Hyehwadong Landscape'); investigated the types of inner layer information in the pictures that can be extracted with terahertz imaging technology; and analyzed the conditions for extracting them. The biggest problem in the terahertz imaging analysis we encountered was the image distortion caused by the change of the distance between the target surface and the terahertz detector, depending on the surface curvature of the target paintings. We then developed a 'working distance maintaining device' to solve this problem. As a result, the terahertz imaging technique was used to identify the base material characteristics and any patterns of damage inside, and presented the optimal conditions for identifying each characteristic. In addition, it was useful to employ the terahertz frequency-division image to check the characteristics of the background materials. To confirm coloring techniques such as brush strokes, it is effective to compare the maximum reflection peak image with the cross-section image; and to detect damage information inside the paintings that cannot be observed on the surface, to compare the cross-section image with the frequency-division image. On the other hand, according to the terahertz imaging analysis of the oil paintings, the internal structural damage marks of 'Boy' and 'Girl' were confirmed, and the artist's painting style was confirmed in 'Hyehwadong Landscape.' The above results are expected to be useful for the analysis and diagnosis of Korean modern oil paintings for their preservation.

• Journal of Conservation Science
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• v.23
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• pp.53-65
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• 2008

This research investigated and analyzed the structure and material feature of the wall behind the Buddha of main temple in An-dong Bongjeonsa through applying the natural scientific method, in order to closely examine its production technique. As a result of the research, the structural and material feature of the wall has been clarified and its production technique applied to the structure has been understood in a comprehensive sense. The target sample basically adopted the two-layer wall system, which showed a symmetric structure to the center made with the wooden material, and is estimated to follow the structural tendency of a general wall which is organized with the first layer, the midterm layer, and the painting wall layer. Each layer formed by the production procedure showed difference in the material and production method according to its characteristics and roles. And it was identified that, in general, the higher a layer lies, the finer grains it has. Combination of the main materials and the additives, used for the wall forming, was presumed to contribute to improving its durability and conservativeness. Also interaction between the materials generating the conservativeness and the producer's technical effect seemed to fortify solidity of the wall.

• Journal of Conservation Science
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• v.35 no.4
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• pp.345-361
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• 2019

This study demonstrates the application of hyperspectral analysis as a pigment identification method for modern and contemporary Dancheong, the polychrome surface on traditional Korean wooden buildings. In particular, green pigments are the focus of this study. Green pigments in modern and contemporary Dancheong have the largest variation of materials and show a noticeable timeline. Thus, they are most suitable for estimating the manufacture or restoration period of Dancheong. Hyperspectral analysis is a noncontact, long-distance measurement technique that has advantages in the field of Dancheong analysis. It is capable of identifying both organic and inorganic pigments, unlike existing analysis methods. For this experiment, green and other pigments used during the modern and contemporary era were selected and made into painted samples under various mixing conditions that reflect their actual uses. Through hyperspectral analysis, their reflectance characteristics were observed, which enables the derivation of four main features that can distinguish the type of pigments used for color mixture. Based on these, a pigment identification system was designed in the form of a flowchart, and its utility was confirmed through site application. Despite some limitations at this stage, the technique can be complemented by considering proper measurement methods or the continuous accumulation of samples and data. If a database on various materials, mixing ratios, painting techniques, and other external interference factors is developed in future research, it would provide the foundation for a faster and safer analysis environment of Dancheong sites.

• Journal of the Korean Society of Costume
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• v.53 no.3
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• pp.51-61
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• 2003

1. This study is to veri(y the characteristics of gauze fabrics focused on the them found at Sukga Pagoda. The remains researched are those of the Unified Shilla Dynasty around 8∼10 century. The found textile remains seem to be used as rugs or to be used for filling in spaces, wrapping silver reliquaries, equipments preserving relics of the Buddha, a gold-plated outermost reliquary, and so on. Since other remains found inside the Sukga Pagoda are national treasures, the textile remains can be considered as the fabrics of the highest quality. 2. Seven gauze fabrics, four non-designed gauzes and three designed gauzes, are found. They are all four-end complex gauze, weaved with the complex gauze technique. Two designed gauzes out of three designed gauzes are weaved in pattern by the clamp-resist dyeing technique and one is weaved in pattern by giving some changes in weaving. 3. In addition to the characteristics peculiar to gauze fabrics, such as thinness, fineness, and sparseness, another characteristic is found. That is, the difference in thickness between wefts and warps is over two times on the average in all of the seven gauze fabrics. Some of the gauze fabrics look like laces because of the huge difference in their thickness. 4. This research verified that with their transparency, are such materials that their beauty can easily be realized without adding various colors or patterns on the fabric by painting, embroidery, stitching old foil, or compound weaving technique.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.8
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• pp.1252-1261
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• 2007

The purpose of this study was to grasp the utilization of traditional Korean Patterns used for fashion cultural products. To achieve this purpose, this study examined the range of fashion cultural products through literature review, previous researches, and market surveys and analyzed the situation of fashion cultural products and the kinds, expression methods, expression techniques, and repeat styles of utilized patterns. The analysis results are as follows. First, in the use of traditional pattern, the most frequently-used fashion cultural products were small and inexpensive accessories, followed by fashion apparel, miscellaneous goods, and living cultural goods. Second, the most frequently-used traditional patterns were plant patterns, especially flower patterns. The next frequently-used ones were mixed patterns, especially in the mixture of flower and letter patterns, and $cloisonn\'{e}$ and flower patterns. The next frequently-used traditional patterns were animal patterns(especially butterfly patterns), followed by geometric patterns, lucky omen patterns, and letter patterns. In the expression methods of used patterns, most products except handicrafts preferred simplified patterns to real patterns. Finally, in the expression techniques of traditional patterns, the most frequently used technique was traditional embroidery, followed by the use of weaving fabrics such as fine gauze and brocade which are used for Hanbok. Also, transfer dyeing which is one of printing techniques, DTP(digital textiles printing), a mixed technique which adds embroidery to weaving fabrics, hand-painting, and a gilt technique were used. The results of this study suggest that most fashion cultural products except few designers' works attached weight to some specified patterns and expression techniques regardless of the characteristics of products since there is little understanding of a variety of patterns and are few researches and development on expression techniques.

• Korea Science and Art Forum
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• v.32
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• pp.319-334
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• 2018

This research is a case study to make sure the enhancement of students' imagination and creativity through developing and applying the Literature-Art-Science Integrated Education Program. Its research object was totally 25 persons of 29 students of the 1st to the 4 th Grades from Gunsan Sulsan Elementary School. Its research period lasted for 4 months from September to December, 2017, and I, as the research place, used the art room at Gunsan Sulsan Elementary School. The programs were totally 10 sessions with a unit of 1 session per each grade for 2 hours from 1:00 to 3:00 in the afternoon from Monday through Friday. I fixed ten themes of this program-eight plane modeling, and two solid modeling, and finished the work of storytelling during summer vacation. And I arranged their levels as low:middle:high(3:5:2) ones. The former was 'A Film of Monster Gorilla'(L), 'Learning the Spirit of Gyeongju Choi's Family'(M), 'A Tale of My Friend Made of Natural Materials'(L), 'The Reading of My Dream'(M), 'Gathering the Objects in My Mobile'(M), 'A Mock Trial of Marrying Off'(M), 'Painting My Favorite Children's Poem'(H), and 'Painting My Favorite Children's Song'(H), and the latter was 'Seeking for a Bluebird in My Mind'(L), and 'Making My Cherished Object' (M). Then I used the unique art expression technique per each theme, which were in sequence marbling, Korean paper art, combine painting, collage, imaginary painting, imaginary painting, play dough art, imaginary painting techniques. And I delivered to the students the scientific knowledge in terms of growing or manufacturing processes of materials used for making artworks. Prior to and after the processing this program, I surveyed about the students' ability of integrated thinking and emotional experience by 'Figure B Type' and 'Figure A Type' of The Torrance Tests of Creative Thinking, and took statistics with the resultant data. And I executed a paired t-test in order to verify the significance of mean difference in the result of investigation with those data. From the analyzed result according to the elements of creativity and the mean quotients of creativity, there showed a significant difference (t=3.47, p<.01) in 'fluency', and also a significant difference(t=3.59, p<.01) in 'creativity.' Judging from the statistic values of two fields such as the student's ability of integrated thinking and emotional experience, I estimate that over the majority of the students showed the enhancement in self-confident creative expression as well as higher interest and concern through this program. The result that I arranged and analyzed the making process of artworks, the photos of the resultant, etc. as such is as follows : Firstly, from this program being proceeded as art-centered STEAM class, the student's systematic problem-solving ability was improved in his ability of integrated thinking to transform the literary contents into artistic one. Secondly, the student obtained the emotional experience such as interest in the class, self-confidence, intellectual satisfaction, self-fulfillment, etc. through art-centered STEAM class using ten art expression techniques. Thirdly, the student's mind willing to cooperate, communicate with his friends, and care for them was ripened in the process of problem-solving. Fourth, the student's self-confidence was further instilled when presenting famous artists and their artworks in the introduction and finale of ten art expression techniques. Likewise, the statistic values on the fields of student's ability of integrated thinking and emotional experience illustrate that over the majority of the students showed improvement in the ability of creative expression with confidence as well as higher interest and concern upon this program.

• International Journal of Contents
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• v.16 no.2
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• pp.41-50
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• 2020

This paper presents Reflectance Transformation Imaging (RTI) as a tool to support the study of paintings and authentication. Manufacturing techniques of the artist are reviewed through the comparison between liberal perspectives and digital imaging techniques. In this study, RTI was applied to focus on the detailed textural information of eight paintings by Korean artist Lee Ji-ho. The RTI result visualizes shallow reliefs of brush strokes and different mediums on the surface technically enhanced through imaging filters, and these morphological textures on the surface act as a key factor in understanding the characteristics of the artist. The surface morphology and art criticism work as qualitative indicators to analyze the change of artistic techniques through time, and the usage of different mediums. The results of this study confirm that the RTI technique can be used as an analysis device in the study of paintings.

• Proceedings of the Korean Society of Precision Engineering Conference
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• 2004.10a
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• pp.78-81
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• 2004

A technical performance of the coating depends greatly on the thickness of painting film or coating film. Therefore the confirmed report of the technique to measure accurately is essential to the coating film thickness for the assessment about a coating quality performance. In this paper, two gap sensors - eddy current gap sensor and capacitance gap sensor - which has a different operating principle were used to measure the thickness of a nonmagnetic substance coating film such as paint, enamel or ceramic that was coated on the metallic material. A capacitance gap sensor was used to measure the distance between the sensor head and a coating film and an eddy current gap sensor to measure the distance between the sensor head and a base metal. Then the thickness of a coating film was obtained by the difference of two measurement value. At this result, the suggested dual sensor can measure an arbitrary film thickness to be coated on a base metal as the measurement value of coating thickness exists accurately within the 2％ error.

• Journal of the Korean housing association
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• v.14 no.5
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• pp.19-26
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• 2003

The purpose of this paper is to examine and analyse the features of plan type and space composition of the Siheyuan(courtyard house) which is one of the most remarkable types of the traditional dwellings in China. With the passage of time this house developed into one of the chinese house style. The technique of Siheyuan's spatial composition goes so far back in the New Stone Age. The relics of this are the colony layout, the system of four sides, the layout type of a palace, the picture of lacquered ware, the pictured brick, the earthenware of house type, the cave painting, the paintings of painters and others. The fundamental spatial conception of it arranges one or more courtyards to compose, sometimes in a very complex way, a general walled compound. The main longitudinal axis is mainly north-south, but the chief buildings, or halls are always placed transversely to it. These rectangular buildings mayor may not connect, by means of open galleries variously planned, with rows of smaller buildings flanking the courtyards on both sides. On this system, enlargement is never carried out by adding to height, but by continual duplication of existing units, and growth in breadth or preferably depth. The need for family security is thought to have led to the development of this rectangular houses with walls mainly blank on the outside, defensible entrances, and public service facilities in the center of the houses.

• Journal of the Korea Furniture Society
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• v.25 no.3
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• pp.173-181
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• 2014

Since the onset of the 21st century, digital technology has been widely adopted in various fields of art; it has enabled artists or designers to try diverse and brand-new ways of expression in literally every possible field of art, including painting, sculpture, and other design work. Furniture design is no exception. From the initial design step to the final production of furniture, modern digital skills are broadly utilized, creating a whole new set of designs that would otherwise be hardly conceivable and realizing a highly efficient furniture-making mechanism. More recently, the 3D printing technique, which is called a 21st century alchemy, has been successfully commercialized and is getting more popular, heralding yet another innovative shift in the area of furniture design and production. In this context, this study discusses the background of the furniture design using digital technology, and identifies the correlations between the modern digital technology and furniture design by redefining the concept of such digital technology. By reviewing multiple real-life cases, some of the key digital expressions found in modern furniture design are also analyzed. This study aims at suggesting the reason why digital technology is significant and promising in diverse ways for the development of modern furniture design.