• 조형예술학연구
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• 제10권
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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.

• 한국산학기술학회논문지
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• 제14권7호
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• pp.3454-3459
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• 2013

수묵 담채화는 먹과 채색을 동시에 사용하는 예술 양식을 의미한다. 이는 동양 미술의 전통적인 기법중의 하나로 널리 알려져 있으며, 영화 및 광고 포스터 및 카메라의 다양한 특수효과 표현 등에 널리 활용된다. 본 연구에서는 컴퓨터 그래픽스 및 영상처리 기법을 기반으로, 참조된 예제 이미지의 수묵담채화 특징이 반영된 결과영상 생성 알고리즘을 제안한다. 이를 위해 우리는 크게 두 가지 단계를 거친다. 첫 번째 단계는 채색 효과 표현단계이다. 우리는 예제 영상에 나타나는 재질감을 수치적으로 분석해 결과 영상에 반영할 수 있는 질감 전이 기법을 활용하였다. 두번째는 먹선 효과의 표현이다. 우리는 예제영상의 윤곽선에서 나타나는 명도 변화 값을 고려하여 먹선 효과를 표현하였다. 우리의 알고리즘은 선택된 참조 영상에 따라 다양한 느낌의 수묵 담채 스타일의 결과를 표현할 수 있으며, 이 기법은, 다양한 콘텐츠 생성 연구에 활용 가능하다.

• 대한환경공학회지
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• 제37권6호
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• pp.380-386
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• 2015

조선소 밀집지역의 휘발성유기화합물 농도의 공간 및 시간적 분포특성을 측정하였으며 이를 기반으로 지역적 특성을 평가하였다. 모든 시료채취지점에서 측정된 주요 휘발성유기화합물은 조선소 내부의 실내도장시설에서 측정된 물질들과 밀접한 연관성을 가지는 것으로 나타나 조선소 내부에서 이루어지는 도장작업이 주변지역의 휘발성유기화합물의 중요한 배출원임을 보여준다. 휘발성유기화합물의 분포를 결정하는 주된 요인들은 시료채취지점과 선박제조 작업장 사이의 거리와 선박제조 작업의 강도인 것으로 나타났다. 모든 시료채취지점에서 일반적인 도시 대기에서 관찰되는 VOCs 농도의 일반적인 시계열적 변화경향을 압도하는 도장작업의 강도에 따라 매우 넓은 범위의 휘발성유기화합물 농도가 관찰되었다.

• 복식
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• 제64권3호
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• pp.32-46
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• 2014

The purpose of this study is to propose a solution for Goguryeo costume and its materials, colors, patterns, and accessories, which have not been dealt with in precedent studies and were treated as irrelevant subjects. The specific object of reconstruction with identification from the historical viewpoint is noble woman's costume(Yu and Gun) on the mural paintings of Jang-Cheon No.1 tomb in Jip-An province. As above, the reconstruction process of Yu(Jacket) and Gun(Skirt) worn by noble woman as depicted on the mural painting of the Baek-Hee-Gi-Ak-Do(百戱伎樂圖) in Jang-Cheon No.1 ancient tomb is suggested in this study. The most important issue for consideration was how to represent and exhibit it so that it resembles the mural painting as closely as possible. And the problems that arose at the time were the ratio and silhouette, which revealed disparities between the one on the mural painting and the costumes reproduced with identification from a historical viewpoint. The most difficult aspect of this work was due to the fact that the actual mural paintings were not available for verification. Therefore accuracy on details such as structure, materials, colors, patterns and accessory were difficult to obtain. So a further analysis of patterns, silhouettes, materials and colors are required for the precise representation of costume and dress on the mural painting.

• 한국의상디자인학회지
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• 제23권4호
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• pp.19-37
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• 2021

The purpose of this study is to apply the characteristics of David Hockney's paintings to fashion illustration and thereby, review how pure art can be harmoniously grafted onto fashion commodities and thereupon, suggest a far more developed and unique fashion illustration. For the research, this study analyzed David Hockney's late painting works, after the 1980s; the analysis was focused on photo collages, multiple perspectives, the movement of the viewpoint, and lights and colors. In order to produce an artwork, the researcher selected 4 painting works; one work for decade for the period from the 1980s to the 2010s. This study selected 'shoes' as subjects for expression in an effort to depart from the convention approach of focusing on apparel and thereby, suggest some differentiated fashion illustrations. In terms of the artwork production size, four canvases #5 were combined into a set, and thus, a total of four sets were developed. The results are as follows. First, it was very interesting to develop a fashion illustration making use of David Hockney's paintings, and it was proven that the fashion illustration applying the sensitivity of the pure art would provide a unique sense of art. Secondly, as the boundary among disciplines becomes blurred, painting provides a new source of insights and motifs to the diverse design areas to satisfy diversified human needs, and furthermore, the development and diversified application of the fashion illustrations could be confirmed. Thirdly, David Hockney's differentiated world of art, technique of expression and sensitive colors could well be applied to fashion illustrations. This study proves that we fashion artists can depart from the conventional expressions focused on the apparel to expand the fashion illustration into lady's high heels.

• 한국건축시공학회:학술대회논문집
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• 한국건축시공학회 2001년도 학술논문발표회
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• pp.130-135
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• 2001

In this study, I have researched into the causes of defects in apartment house, The results of this study are listed below. (1) Water leakages which result from land sinking and cracks, results of misuse of back filling method, are the main reason of defects in civil engineering work and architectural work. (2) Inexperience and unwillingness are the main reason of defects in plaster work. (3) In windows work and painting work, the main reasons are lacks of precision construction and efflorescence resulting from outdoor air, respectively. (4) Defects in waterproofing work and electric work result from fault construction by low unit Costs. (5) Equipment work requires uses of standardized construction materials and management, and landscape architecture work requires minimizing human mistakes, for instance, degin carelessness. For the reasons stated above, the causes of defects in apartment house are insufficient construction labors, inferior construction materials, urgent construction process time, and conscientiousless industrialists who only seek after a profit margin.

• 한국응용과학기술학회지
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• 제41권2호
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• pp.338-348
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• 2024

에어브러시는 실용적이고 다양한 표현이 가능하므로 산업 각 분야에서 활용하고 있으며 특히 바디페인팅 아티스트에게도 필수적인 도구로 활용되고 있다. 에어브러시는 정교한 색상, 형태, 그라데이션 표현이 가능하며, 작업 시간이 단축되는 장점이 있어 바디페인팅 분야에서도 그 활용 영역이 점차 확대되고 있다. 최근 국제적으로 인정받고 있는 월드 바디페인팅 페스티벌의 에어브러시 전용 카테고리 수상 작품을 중심으로 디자인 구도, 색채 기획 및 배색과 표현기법을 분석하여 에어브러시 바디페인팅 작품의 최신 디자인 경향을 제시하고자 하였다. 그 결과는 다음과 같다. 첫째, 디자인 구도에 있어서 주로 강조(emphasis)와 균형(balance)의 원리를 사용하여 상반신의 정중앙에서 메인 이미지를 강조하고 하반신에서는 좌, 우 대칭으로 균형이 잡힌 구도가 주요한 디자인으로 분석되었다. 둘째, 색채 기획 및 배색으로는 주목성을 높일 수 있는 대비 배색의 활용이 주요하게 활용되었으며 셋째, 주요 수상 작품 모두 스텐실과 그라데이션 기법을 활용하여 형태의 정확성과 입체감을 표현하였다. 이상의 분석 결과를 토대로 바디페인팅 디자인을 기획하고 에어브러시를 활용하여 작품을 완성하였다. 이러한 작품 제작을 통해 에어브러시 바디페인팅의 예술적 활용을 대중화하고 국내 에어브러시 바디페인팅 작품 연구에 도움이 되고자 한다.

• 헤리티지:역사와 과학
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• 제44권1호
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• pp.196-221
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• 2011

조선시대 종묘(宗廟)에 모실 수 없는 왕의 사친, 등극하지 못한 세자와 같은 왕족의 신위를 모신 공간, 사묘(私廟)는 왕명에 의해 건립되고 관리되었다. 또한 사묘의 영건은 각 의궤(儀軌)에 담겼고 이와 함께 왕실사묘의 평면배치도 등이 남겨졌다. 정조의 후궁으로 순조(純祖)를 생산한 수빈박씨(綬嬪朴氏)의 신위를 모신 경우궁의 영건기록인 1824년 "현사궁별묘영건도감의궤(顯思宮別廟營建都監儀軌)"가 현존하기에 그간 소개된 바도 없고 연대조차도 알 수 없었던 <경우궁도(景祐宮圖)>의 제작 연대, 사용재료 및 장황(粧潢) 등을 살펴볼 수 있다. 즉 <경우궁도>는 1822년에 타계한 수빈박씨의 신위를 모시기 위해 궁내에 설치했던 혼전(魂殿)을 폐하고 궁밖에 별도로 마련한 터에 왕명에 의해 1824년 현사궁별묘를 영건하면서 영건도감(營建都監)에서 제작한 <현사궁별묘전도>인 것으로 확인된다. 영건도감에서 <경우궁도>의 제작이 이루어졌을 것이기에 의궤에 제시된 화원(畵員)들이 주목되지만 이들의 현존작이 없어 화풍을 비교할 수 없음은 아쉬움으로 남는다. 하지만 <경우궁도>는 <동궐도(東闕圖)>에서 볼 수 있는 완벽한 평행사선구도로 일목요연하게 많은 전각 등을 묘사하고 있는 점이 가장 큰 양식적 특징으로 지적할 수 있다. 주지하듯 건축물을 다룬 그림들은 해당 건축그림 제작 의도에 맞게 시점을 택해 그리거나 아니면 다시점을 이용해 그리게 된다. 우리 회화에서 건축물을 다룬 그림은 일찍부터 평행사선구도, 정면부감시 또는 다시점 등을 적절히 활용하여 제작되었다. 18세기에 이르면 평행사선구도로 정확하게 그리면서도 회화성도 높은 작품들이 등장하기 시작하는데 19세기 전반기에 이와 같은 현상이 최고로 발전한 듯 <동궐도>가 등장한다. <경우궁도> 또한 완성된 평행사선구도로 200칸 가까운 많은 전각들을 한눈에 알아볼 수 있도록 치밀하게 표현하고 있어 <동궐도>와 같은 계열에 속하는 건축그림으로 볼 수 있다. 이는 또한 수지법, 옥우법, 지면의 표면질감 표현 등 구체적 화법의 비교를 통해 알 수 있다. 다만 사당공간 중 가장 중요한 정당권역만은 의궤도설 '정당이하제처(正堂以下諸處)'라는 평면배치도와 그대로 일치하여 평행사선구도를 버리고 정면부감시 및 사방전도식묘법으로 표현된 점은 <경우궁도>만이 갖는 특징으로 지적될 수 있다. 동시대 영건과 관계된 그림은 아닌 개인의 거주지를 표현한 그림에 이와 같이 시점을 각각 달리하여 표현한 예가 있기도 하여 사당공간을 그린 그림만이 가지는 특성인지는 아직 정확히 알 수 없다. 한편 왼편 하단으로 향하는 평행사선구도를 택해 그릴 경우 화면 왼편 상단과 오른편 하단은 비게 된다. 경우궁도가 이에 부합되는 화면을 보여주는데 반해 동궐도는 다양한 나무 등을 채워 빈 여백 없는 완벽한 화면 구성을 보여준다. 이와 같은 현상은 두 작품의 장황의 현황과도 일치하는데 지본 낱장으로 완성된 경우궁도는 화첩으로 표제까지 달아 완성된 동궐도와는 완성도의 면에서 차이가 있다고 판단된다. 이는 마치 동궐도가 그 묘사의 사실성, 기록성을 넘어 감상의 목적까지도 고려하여 작품제작 및 장황까지 마친 것이었다면 경우궁도는 영건의 상황을 있는 그대로 화면에 옮겨 그리는 기록이 가장 중요한 목적으로 제작되었음을 알게 해주는 것이다.

• Safety and Health at Work
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• 제7권1호
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• pp.63-71
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• 2016

Background: Construction painters have not been studied well in terms of their hazards exposure. The objective of this study was to evaluate the exposure levels of total volatile organic compounds (TVOCs) for painters in the construction industry. Methods: Activity-specific personal air samplings were carried out in three waterproofing activities [polyurethane (PU), asphalt, and cement mortar] and three painting activities (epoxy, oil based, and water based) by using organic-vapor-monitor passive-sampling devices. Gas chromatograph with flame ionization detector could be used for identifying and quantifying individual organic chemicals. The levels of TVOCs, by summing up 15 targeted substances, were expressed in exposure-index (EI) values. Results: As arithmetic means in the order of concentration levels, the EIs of TVOCs in waterproofing works were 10.77, 2.42, 1.78, 1.68, 0.47, 0.07, and none detected (ND) for indoor PU-primer task, outdoor PU-primer task, outdoor PU-resin task, indoor PU-resin task, asphalt-primer task, asphalt-adhesive task, and cement-mortar task, respectively. The highest EI for painting works was 5.61 for indoor epoxyprimer task, followed by indoor epoxy-resin task (2.03), outdoor oil-based-spray-paint task (1.65), outdoor water-based-paint task (0.66), and indoor oil-based-paint task (0.15). Assuming that the operations were carried out continuously for 8 hours without breaks and by using the arithmetic means of EIs for each of the 12 tasks in this study, 58.3% (7 out of 12) exceeded the exposure limit of 100% (EI > 1.0), while 8.3% (1 out of 12) was in 50e100% of exposure limit (0.5 > EI > 1.0), and 4 tasks out of 12 were located in less than 50% of the limit range (EI < 0.5). Conclusion: From this study, we recognized that construction painters are exposed to various solvents, including carcinogens and reproductive toxins, and the levels of TVOC concentration in many of the painting tasks exceeded the exposure limits. Construction workers need to be protected from chemical agents during their painting works by using personal protective devices and/or work practice measures. Additional studies should focus on the exposure assessment of other hazards for construction workers, in order to identify high-risk tasks and to improve hazardous work environments.

• 대한임상검사과학회지
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• 제44권1호
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• pp.17-23
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• 2012

This study is assessed the urinary hippuric acid (HA) concentration in toluene-exposed workers. Toluene is widely used in the coating, printing, painting and petroleum industries. We analyzed the hippuric acid level of toluene-exposed workers (males: 198, females: 63) from 2008 to 2010 and examined the relationship between hippuric acid and the characteristics of their work. The measurements of the urinary hippuric acid were confirmed by high-performance liquid chromatography. Among the subjects, males had on average more work experience than females (males: 9.17 years, females: 4.45 years), but females showed a higher hippuric acid concentration levels than males (males: 0.26 g/L, females: 0.75 g/L). The mean of the HA concentration according to the age group was 0.19 g/L in 30's, 0.30 g/L in 40's, 0.54 g/L in 50's, 1.36 g/L in 60's. Those in their 60's had the highest concentration. The mean of HA concentration according to the type of work was 0.70 g/L for the coating, 0.52 g/L for the painting, and 0.16 g/L for the printing industries, revealing that the workers in the coating industry had the highest concentration. By the highest order, the mean of HA concentration by working period was as follows; less than 5 years, ${\leq}5\;years{\sim}<10\;years$. The factors that influence the HA concentration are not only how long one is exposed to toluene but also the type of work, worker's age, and their gender.