• Title/Summary/Keyword: painting work

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Incremental Analysis for Introduction of Advanced Robotic Laser Coating Removal System for Depainting of Fighter Jets (전투기 도장 제거용 로봇형 레이저 코팅 제거 시스템 도입 의사결정을 위한 증분분석)

  • Chang Young Lee;Jong Hun Park
    • Journal of Korean Society of Industrial and Systems Engineering
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    • v.45 no.4
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    • pp.8-20
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    • 2022
  • The paint removal of fighter jets is just as important as the painting, because perfect paint removal ensures the quality of the exterior painting on the aircraft. However, the current conditions for paint removal work of the ROKAF's are poor. It is identified that the painting process currently implemented by the ROKAF is not only exposed to harmful compounds such as harmful dust and hexavalent chromium, but also consumes a lot of water. Thus, the introduction of advanced facility is considered. This study compares the fighter jets painting removal process currently applied by the Korean Air Force with the improved laser coating removal process of the US Air Force, and conducts an incremental analysis to perform economic analysis for the introduction of advanced facility. Four scenarios were envisioned on the premise of an increase in the number of fighters in the future, incremental analysis shows that laser coating removal method is advantageous in all scenarios. In addition, it is recommended that paint removal cycle keeps the current 12-year and the outsourcing amount to civilian depot is reduced.

Exposure Assessment of Solvents and Toluene Diisocyanates among Polyurethane Waterproofing Workers in the Construction industry (건설현장 우레탄 방수작업자의 휘발성 유기화합물 및 톨루엔 디이소시아네이트 노출평가)

  • Park, Hyunhee;Hwang, Eunsong;Ro, Jiwon;Jang, Kwangmyung;Park, Seunghyun;Yoon, Chungsik
    • Journal of Korean Society of Occupational and Environmental Hygiene
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    • v.30 no.2
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    • pp.134-152
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    • 2020
  • Objectives: The objective of this study was to evaluate volatile organic compounds (VOCs) and toluene diisocyanates (TDIs) exposure among polyurethane waterproofing workers in the construction industry. Methods: Task-based personal air samplings were carried out at seven construction sites using organic vapor monitor for VOCs (n=88) and glass fiber filters coated with 1-(2-pyridyl)piperazine(1-2PP) for TDIs (n=81). The concentration of VOCs and TDIs were shown for four different work types(mixing paint, primer roller painting, urethane resin spread painting, painter assistant) at five different worksites (rooftop, ground parking lot, piloti, bathroom, and swimming pool). The two TDI sampling methods (filter vs impinger) were evaluated in parallel to compare the concentrations. Results: The geometric mean(GM) concentration of VOCs Exposure Index (EI) was highest for primer roller painting (1.4), followed in order by, urethane resin spread painting (0.85), mixing paint (0.53), and painter assistant (0.35) by work types. The GM of VOCs EI was highest for bathroom (1.4) followed in order by, swimming pool (0.85), piloti (0.89), ground parking lot (0.82) and rooftop (0.57) by worksites. The GM of 2,4-/2,6-TDI concentration was 0.052 ppb and 0.432 ppb each. There was no statistical difference in TDIs concentrations among worksites. The concentration of 2,6-TDI was ten times higher than that of 2,4-TDI. The concentration of 2,6-TDI by impinger method was 5.7 times higher than that by filter method. Conclusions: In this study, we found 38.6% of the VOCs samples exceeded the occupational exposure limits and 19.8% of the 2,6-TDI samples exceeded 1 ppb among polyurethane waterproofing workers. The most important determinants that increase the concentration of VOCs and TDIs was indoor environment and primer painting work.

Digital painting: Image transfonnation, simulation, heterologie and transfonnation (현대회화에서의 형태와 물질 -Digital Transfiguration에 관한 연구-)

  • Jeong, Suk-Yeong
    • Journal of Science of Art and Design
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    • v.10
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    • pp.161-181
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    • 2006
  • The words which appeared in my theoretical study and work are image transformation to digital painting, simulation, heterologie and transfiguration, etc. Firstly, let's look into 'digital era' or 'new media era'. Nowadays, the image world including painting within the rapid social and cultural change, which is called as digital era, is having the dramatic change. Together with the development of scientific technology, large number of events which was deemed to be impossible is happening as real in image world Moreover, these changes in image world is greatly influencing to our life. The word which compresses this change of image world and shows is 'digital'. Digit, which means fingers in Latin, indicates separately changing signal, and to be more narrow, it indicates the continual signal of '0' and ' 1' in computer. The opposite word is 'analogue'. As analogue is the word meaning 'infer' or 'similarity', it indicates the signal or form which continuously changes along the series of time when it is compared to digital. Instead of analogue, digital is embossed as a major ruler along the whole area of our current culture. In whole culture and art area, and in whole generalscience, digital is appearing as it has the modernism and importance. The prefix, 'digital', e.g. digital media, digital culture, digital design, digital philosophy, etc, is treated as the synonym of modernism and something new. This advent of digital results the innovative change to the image world, creates the new beauty experience which we could not experience before, and forecasts the formation of advanced art and expansion of creative area. Various intellectual activities using computer is developing the whole world with making the infrastructure. Computer in painting work immediately accomplishes the idea of painters, takes part in simulation work, contingency such as abrupt reversal, extraction, twisting, shaking, obscureness, overlapping, etc, and timing to stimulate the creativity of painters, and provides digital formative language which enables new visual experience to the audience. When the change of digital era, the image appeared in my work is shown in 'transfiguration' like drawing. The word, 'transfiguration' does not indicate the completed and fixed real substance but indicate endlessly moving and floating shape. Thus, this concept is opposite to the substantial consideration, so that various concepts which is able to replace this in accordance with the similar cases are also exist such as change, deterioration, mutation, deformity of appearance and morphing which is frequently used in computer as a technical word. These concepts are not clearly classified, and variably and complicatedly related. Transfiguration basically means the denial of "objectivity' and '(continual) stagnation' or deviation from those. This phenomenon is appeared through the all art schools of art ever since the realism is denied in the 19th century. It is called as 'deformation' in case of expressionism, futurism, cubism, etc, in the beginning of the century, which its former indication is mostly preserved within the process of structural deviation and which has the realistic limit which should be preserved. On the contrary, dramatic transfiguration which has been showing in the modern era through surrealism is different in the point that dramatic transfiguration tends to show the deterioration and deviation rather than the preservation of indicated object. From this point, transfiguration coming out from morphing using computer deteriorates and hides the reality and furthermore, it replaces the 'reality'. Moreover, transfiguration is closely approached to the world of fake or 'imaginary' simulation world of Baudrillard. According to Baudrillard, the image hides and deteriorates the reality, and furthermore, expresses 'not existing' to 'imaginary' under the name of transfiguration. Certain reality, that is, image which is absent from the reality is created and overflowed, so that it finally replaces the reality. This is simulation as it is said by Baudrillard. In turn, Georges Bataille discusses about the image which is produced by digital technology in terms of heterologie. Image of heterologie is the visual signal which is established with the media. Image of media is to have the continuous characteristics of produce, extinction, and transformation, and its clear boundary between images becomes meaningless. The meaning of composition, excess, violation, etc of digital image is explained to heterological study or heteologie suggested as important meaning of Georges Bataille who is a heretic philosopher. As the form and image of mutation shows the shape in accordance with mechanical production, heterologie is introduced as very low materialism (or bas materialisme), in this theory. Heterologie as low materialism which is gradually changing is developing as a different concept and analysis because of the change of time in the late 20s century beside high or low meaning. Including my image, all images non-standardizes and transforms the code. However, reappearance and non-standardization of this code does not seem to be simple. The problem of transformation caused by transfiguration which appears in my digital drawing painting, simulation, heterologie, etc, are the continual problems. Moreover, the subject such as existence of human being, distance from the real life, politics and social problems are being extended to actual research and various expressing work. Especially, individual image world is established by digital painting transfiguration technique, and its change and review start to have the durability. The consciousness of observers who look at the image is changing the subject. Together with theoretical research, researchers are to establish the first step to approach to various image change of digital era painting through transfiguration technique using our realistic and historical image.

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Lee Ungno (1904-1989)'s Theory of Painting and Art Informel Perception in the 1950s (이응노(1904~1989)의 회화론과 1950년대 앵포르멜 미술에 대한 인식)

  • Lee, Janghoon
    • Korean Journal of Heritage: History & Science
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    • v.52 no.2
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    • pp.172-195
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    • 2019
  • Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.

An Accident Investigation of Fire and Explosion Case During Painting Work in the Tank of the Crude Oil Carrier (선박 탱크 내부 도장작업 중 발생한 화재·폭발 사고원인 분석)

  • Ahn, Byung-Joon;Jung, Ki-Hyuk;Rhim, Jong-Kuk
    • Journal of the Korean Institute of Gas
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    • v.22 no.3
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    • pp.20-31
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    • 2018
  • There was an amazing growth in the korean shipbuilding industry considering the industrial magnitude and the technical level. On the contrary of the growth, there are a number of accidents in the shipbuilding yard. According to the statistic data of the industrial accident in the last 7 years, the number of accidental fatalities in shipbuilding industries are 1.48 ‱ which are over more than doubles of the average in the Korean industries, 0.66 ‱. Thus, through an accident investigation of fire and explosion case during painting work in the tank of the crude oil carrier, it have been tried to diagnose actual conditions in the shipbuilding yards.

A Visual Expression in Fashion Illustration using 2D Graphics (2D 그래픽스를 활용한 패션 일러스트레이션의 시각적 표현 양상)

  • Choi Jung-Hwa
    • The Research Journal of the Costume Culture
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    • v.13 no.4 s.57
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    • pp.550-563
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    • 2005
  • These days, photoshop and illustrator program can make a fashion illustration express easily and speedily, And they can also express a feeling and sensitivity of fashion illustrator by a tool and effect more than a manual work's media. The purpose of this study was to analyze a visual expression and characteristics in fashion illustration using 2D graphics. The method of this study was to analyze the fashion illustration books using 2D graphics. The visual expressions in fashion illustration using 2D graphics were as follows: Fashion illustration was based on a sketch or photography, and used a composition, drawing, mapping, painting, and manual work's re-touching. Characteristics of visual expression were as follows: First, a image composition was showed discontinuity and heterogeneity of image, new context and composition, and allowance of reality. Second, image transform was showed image overlap, body transformation by image recomposition, and deformed transformation by vector drawing. Third, hyper-real was showed precise touching, mechanical and neutral image, omission of background and focus of an object's characteristic and information. Fourth, following a realistic expression was showed simplified color, shading, dominant view point of fashion illustrator by omission, and daily lift style. Fifth, following a pictorial expression was showed non-fixed and irregular line, natural painting, and drawing and painting by conventional pictorial media. In conclusion, a photoshop and illustrator in 2D graphics will serve as a new media far fashion illustration with a manual work. And they will not only intensify a capacity as a commercial role of fashion illustration but also present a positive motive for students learning a fashion illustration.

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A Study on Characteristics of Hundertwasser - Focus on his paintings and Architecture Projects - (훈데르트바써의 작품세계와 특성에 관한 연구 - 회화작품의 건축구현을 중심으로)

  • Chung, Yu-Jin;Kim, Heung-Seob
    • Korean Institute of Interior Design Journal
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    • v.20 no.6
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    • pp.97-104
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    • 2011
  • Art has always been a witness to its time. The art of our century has lived through two world war. In that time Friedensreich Hundertwasser was born to a half Jewish family in Vienna in 1928. He lived and died as a painter, architect, designer, ecologist, writer, innovator... etc. He was impressed form Gustav Klimt, who pioneered the Viennese Secession which was the Austrian expression of the Art-Nouveau mouvement and inspired by the works of Egon Schiele from an early date. His style as an architect was heavily influenced by Antonio Gaudi and some of the Jugendstil architects. Although his architectural work is comparable to Gaudi in its biomorphic forms and use of tile, but is currently renowned for his unique styling. His character as follows; First, Bold color - His use of color is bold, and he has a strong sense of which color work well together. Second, Curved line & Spiral - It's the primary shapes in his works against the tyranny of ugliness and the iron rule of its straight line. Spiral reveal as a transautomaism. Third, Harmony with nature - His work is the creator of beauty, of nature of harmony, peace of joy, against the contradictions of our post-industrial society. He represented these various characteristics in his works. Hundertwasser first achieved notoriety for his boldly-colored painting, he is more widely renowned today for his revolutionary architectural designs.

The Characteristics of the Repair Cost Distribution in Apartment Housing

  • Lee, KangHee;Chae, ChangU
    • KIEAE Journal
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    • v.15 no.6
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    • pp.19-26
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    • 2015
  • Purpose: The repair would require to conserve and improve the building function and performance since built. Each household is responsible for maintaining the public facilities and paying the required cost. Therefore, it needs to get the tool or method to forecast the required cost in the future. Before the repair cost is provided, it needs to catch the repair cost distribution and provide the unit cost for the repair cycle. In this study, it aimed at providing the repair cost unit and analyzing the repair cost distribution in a roof proofing work, elevator work and building painting, which are divided into a fully work and partly change. Results of this study are shown that first, the average repair cost for roof proofing work is provided with $166.59{\times}10^3won/household$ and $1.59{\times}10^3won/m^2$ of a full change, $33.22{\times}10^3won/household$ and $0.33{\times}10^3won/m^2$ for a partly work. In addition, elevator work is $557.45{\times}10^3won/household$ and $5.38{\times}10^3won/m^2$ for a full change, $32.92{\times}10^3won/household$ and $0.56{\times}10^3won/m^2$ for a partly repair. Painting has a $304.48{\times}10^3won/household$ and $2.94{\times}10^3won/m^2$. Second, the distribution pattern of repair unit cost has a weibull-typed distribution which has a long tail to the right.

Rational Spirit for Painting Theory of the Song Dynasty (宋代画论中的理性精神)

  • Chen, Gu Xiang
    • (The)Study of the Eastern Classic
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    • no.59
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    • pp.405-428
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    • 2015
  • Painting theorists in Song dynasty often spoke 'Li' when they talked about paintings. But 'Li' of the song dynasty is not limited to the 'ethics'. First, it includes visible 'natural's truth', such as the differences of 'geography' and 'physics' between the depicted objects. Second, it also includes 'common sense' which was based on both the observation and the thinking. The theorists thought if the 'common sense' was improper in the painting, the whole work was invalid. Thirdly, it also includes 'the reasonable sense in special situation', which requires great imagination ability and elaborative faculty. For example, when playing wind instruments and stringed instruments in the same time at the same concert, the painter should accurately draw the different gestures of musicians according to that the wind instrument is 'sound when the finger lift' and the stringed instrument is 'sound after the finger have left' in that moment. Fourthly, it includes 'art reason', theorists call it as 'ShenLi' or 'MiaoLi'. 'ShenLi' or 'MiaoLi' require the creator to join the spiritual concept besides his observation and thinking. For example, 'banana in snow' is neither observed available nor thought of available, but is the result of spiritual concept of creators for seeking everlasting. And at last, it certainly includes 'the principle of ethics'. Painters often highlighted the ethical relations of the feudal nation and the value of individual gentleman through the allegory story of figure painting and even the sudden composition in the landscape painting. 'Geography', 'physical', and 'common sense' are required the meticulous observation and the rational thinking for the painted object. And 'the reasonable sense in special situation', 'the art reason', 'the principle of ethics' are required enhancing painting style in the painting artistic conception and realm of life based on the nuanced observation, making 'technology' into the 'Tao'. This is the six reasonable increasing requirements for the painting work. Therefore, 'seeking the final reason' is the fundamental spirit of painting theory of Song Dynasty.

A study on expressing an artist's inner world as well as the external shape of a figure in a figure painting (인물화(人物畵)의 사의성(寫意性)에 관한 연구(硏究))

  • Lee, So-Young
    • Journal of Science of Art and Design
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    • v.11
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    • pp.153-199
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    • 2007
  • The East has recognized 'similar forms' and 'similar spirits' as important topics in expressing an object. Figure painting, in particular, has attached importance to 'transmission of spirit'. Gu Kaizhi (345-406) definitely presented the transmission concept and made it the moot important criterion in painting criticism. By identifying the possibility of revealing spirit through a form, he recognized the 'expression of will' in a creator's work and the experience of such 'expressed will' by an appreciator to be the essential acts of art. Thus, he said, a figure painting revealed the character and nature of the depicted object rather than reproducing its form. Regarding art as a person creating the saintly way of life via developing own character, he attached importance to the will of an artist as the central aesthetic subject. This dissertation explores the keynote of the spirit expressing an artist's inner world and the external shape of a figure. It is carried out by investigating the process of Gu Kaizhi's theory (namely spirit transmission and revelation in painting) leading to Su Dongpo's assertion that "the nature of things" and later leading to Yun Duseo's "theory of the way of painting" as the spirit-transmission theory faithful to the principle of revealing spirit through a form in Chosun. The chronological study of the aforementioned works reveals that the relation between an artist and an object is important at the stage of setting aim in producing a work, and this dissertation analyzed it with four elements: (1) creating work based on the viewpoint of nature that heaven and man are one; (2) reflection of the creator's character (including his/her nature, temperament, spirituality, and emotion during the creation) and the artistic merit of a picture; (3) the dialectic unification between the true and the false through space which is a volitional state as creative thinking space; (4) importance of artist's will above the technique used such that a purposeless, inactive and plain work (where human will is combined with heavenly one) was pursued because the picture is regarded coming from the mind created in the unity of host/artist and guest/object. Thus, through his/her intuitive insight is the world where self is united with the cosmos symbolized. Such expression of an artist's inner world and the external shape of a thing pursues the stage of materialization and creates the new modes such as using space, a variety of brushstrokes, and accidentality and improvisation of India ink. In particular, the writer sees that such expression which enables a creator to express his/her nature or personality (and even the emotion) at the time of creation will be highly worth studying in the future, in accord with the pursuit of contemporary painting being expressed as an abstract aspect.

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